LB 

1541 
.J4 



ELEMENTARY 
INDUSTRIAL WORK 




GEORGE H. JENSEN, B. S. 




Class _1JLL£4J 
Book ^J4___ 



Copyright N°- 



COPYRIGHT DEPOSIT. 



ELEMENTARY 
INDUSTRIAL WORK 



. . . BY . . . 

GEORGE H. JENSEN, B. S. 

Director of Manual Arts, Louisiana State Normal School 

NATCHITOCHES, LA. 



Illustrated and Published by the Author 
NATCHITOCHES, LA. 



Y> X 



5* 



COPYKIGHT 1910 
BY 

GEORGE H. JENSEN 



©CI.A265319 



PREFACE. 

We are no longer required to prove to the public that 
training in the Manual Arts is an essential factor in any educa- 
tional curriculum. We are frank to admit, however, that we 
are not conceited enough to say that we have learned the best 
methods of giving training along this line. The contents of this 
book are what seem to the author the best that has been found 
up to the present time for the particular phase of the work for 
which it is intended. Each problem has been selected only after 
careful testing in the classroom. All of them have demon- 
strated their practicability. In a general way, nearly every- 
one knows about the crafts problems and projects suitable for 
classwork. But when it comes to using them as such, trifling 
details, simple in themselves, come up and cause the proposed 
handwork to be omitted. The wise teacher who has not 
thoroly learned how to do the work readily, substitutes. 
Often a few simple suggestions would have cleared up all 
vagueness. 

The material in this book is of such a nature that any 
"wideawake" teacher may with a little patience and applica- 
tion use it without an instructor. 

The teaching of this subject has always been somewhat 
handicapped by the scarcity of text-books that are suitable. 
Most of them treat only some of the materials that may be 
used — it is the purpose of this book to treat all that are 
advisable. 

Students in my classes have often asked that we have a 
text-book treating the subject-matter that we cover. In 
answer to this and the other demand referred to, this little 
volume has been prepared. 



VI 



INTRODUCTION. 

The title of this book does not mean to imply that we are 
to train for any trade, but it is evident that industrial training 
necessarily must be included in our curriculum when thirty of 
our thirty-two millions of workers must earn their living by 
the use of their hands. A mere "busy-work" period coming 
for its share of time is not sufficient. The work must stand for 
something definite, and tangible results must be in evidence. 
The standard of skilled labor demanded by the industries is 
already being raised. This elementary work paves the way for 
the shopwork which will come later. 

Handwork is often an incentive to more concentrated 
application at other subjects. Pupils will work harder if they 
are looking forward to a period when they can lay aside their 
books and work with their hands. 

• While working, keep in mind design and proportion. It is 
just as easy to teach good proportion as it is to permit the 
development of a disregard for proportion, if the child is only 
guided in his efforts. 

Never strive for quantity at the expense of quality. Honest 
constructions should always be adhered to, even tho imita- 
tions may shorten the work and be "just as good." Have 
your problems so graded that the children for whom they are 
planned can execute them in a creditable way. There are 
teachers who are wont to say that a certain execution is very good 
considering the age of the child— that is a poor standard 
Plan the problems so that good results can be demanded. 

Exhibits are a necessary evil. A great deal of time and 
effort are expended for same, which reduces the time for actual 
classwork, which is too short as it is. It is fortunate, of course, 
that parents and friends are interested in the results achieved 
by the children, but it is such a temptation to help the child in 
preparing his piece for the exhibit by executing parts of it 
that he cannot execute himself. The product then ceases to 
belong to the pupil and becomes the work of the teacher. 



Vll 



There are two general suggestions for methods of pro- 
cedure that are worth while. In the lower grades, use the work 
in teaching history, industries, occupations, etc.; in the higher 
grades, constructions and technique should be mastered and 
emphasized. All of the time, however, initiative should be 
considered and developed. 

The different phases of the work need not be taken up in 
the order of the chapters that follow. Each chapter begins 
with the simplest manipulation of the subject-matter of which 
it is treating, and leads up to the more difficult. 

This book does not attempt to carry any of the crafts into 
the realm of professionalism. But since most schools, both 
rural and city, are doing work of this kind in the lower grades, 
this book hopes to accomplish its mission by helping those 
who study it to develop better and more sincere methods of 
instruction. 



Vlll 



CONTENTS. 

Page. 

CHAPTER 1 . Mechanical Drawing .... 1 

1 . A Simple Working Drawing ... 2 

2. Lettering 5 

3. Designs 9 

4. Geometric Problems . . . . 10 

CHAPTER II. Community Work 14 

1 . A Barnyard Scene . . . . 16 

A Street Scene 18 

Doll-House Construction ... 23 
The Building of Houses . . . .31 

Special-Day Exercises .... 36 

Holiday Season 37 

Envelopes 40 

Boxes 42 

St. Valentine 43 

Washington's Birthday . . . .46 

Easter Season 49 

Hanging, Gift and May Baskets . .51 

CHAPTER IV. Miscellaneous Paper Sloyd. . . 56 

CHAPTER V. Cord and String Work .... 66 

1. Watchchains 67 

2. Guard for Scissors 69 

3. Square Knot 70 

4. A Portiere . . . . . . .70 

5. A Small Bag . . . . . . 71 

6. The Double Sailor's Knot . . .72 

7. Whips 72 

8. A Hammock . . . . . .74 

CHAPTERjVI. Burlap Work 76 

1. A Mat 76 

2. A Napkin Ring 77 

3. A Shaving-Pad 78 

4. A Holder 79 

5. ANeedlebook 80 



CONTEN TS— Continued. 

Page. 

6. A Cardcase 80 

7. A Bag for Books ... . . .82 

8. A Pincushion 82 

9. Sofa Pillows 83 

CHAPTER VII. Weaving 85 

1. Single-Mat Weaving . . . .87 

2. A Woven Box 91 

3. Right and Left Weaving ... 93 

4. Hand-Loom Weaving .... 95 

CHAPTER VIII. Raffia Work 109 

1. Wrapped Work 110 

2. Braided Work 115 

3. Knotted Work 117 

4. Porch Pillows 120 

CHAPTER IX. Simple Bookbinding . . . .123 

1. Desk-Pads 124 

2. Portfolios 127 

3. A Simple Booklet 129 

4. Another Book 130 

5. Loose-Leaf Books 131 

6. Art Books 133 

CHAPTER X. Basketry 135 

1. Reed Mats 136 

2. How to Utilize Mats . . . .142 

3. Reed Baskets 145 

4. Willow Baskets 151 

5. Coiled Baskets 151 

6. Hard-Coiled Baskets . . . .153 

7. Baskets of Natural Material . .159 

8. Flat Reed Baskets 160 

CHAPTER XI. Design .163 

1. Block-Printing 171 

2. Stenciling 172 

CHAPTER XII. Bird-Houses 176 

1. A Wren-House 176 

2. A Larger Bird-House . . . . 1 79 

3. Other Bird-Houses . . .181 



I. 

WORKING DRAWINGS. 

An understanding of simple working drawings is 
necessary for hand work of any form. 

Mechanical drawing differs from free-hand work. 
In free-hand drawing things are represented as they 
are seen, or as they impress one. In mechanical 
drawing things are drawn as they exist, or really are. 

In drawing any view of an object, either top, 
end or side, only two dimensions are used. Those 
are length and breadth. The point of view is assumed 
to be at an infinite distance from the object; there- 
fore, no thickness or third dimension is considered. 

Instruments shown in Figure 1 are essential, 
being a drawing-board, T-square, 30x60 and 45x45 
degree triangles, and thumb-tacks. A compass will 
also be needed. 

In using the T-square, the beam (part to which 
the blade is nailed) should be firmly held against the 
end of the board in order that all of the lines drawn will 
be parallel. The triangles are used to draw lines per- 




2 ELEMENTARY INDUSTRIAL WORK. 

pendicular to those drawn with the T-square and for 
drawing lines to make the various angles mentioned 
under Figure 1 . The T-square may also be used from 
the top of the board if the upper left-hand corner is 
square so that the angle it makes with the line already 
drawn will be a right angle. 

In addition to what has already been mentioned, 
Figure 1 also shows a sheet of drawing paper 9"xl2 n 
in place. The edge of the paper must be parallel 
with the blade of the T-square. This is easily done 
by fastening only one of the lower corners and then 
moving the paper until the upper edge is just in line 
with the T-square, when the other tacks may be 
inserted. 

The character " to the right and above the Figures 
9 and 1 2 in the preceding paragraph designates inches. 
If there is but one of these characters ('), that designates 
feet. These characters will be used thruout this book. 



1. A SIMPLE WORKING DRAWING. 

A simple working drawing is shown in Figure 2 
with all construction lines and method of projection. 
Figure 3 shows the drawing complete, after inking 
in all necessary lines and erasing the construction 
lines. 

The conventions in the lower right-hand corner 
of Figure 2 are not a part of that plate, but are for 
the purpose of learning their names. No. 1 is a line 
used to represent visible edges; No. 2, invisible 
edges; No. 3, dimension lines; No. 4, working or 
projection lines; and No. 5, center lines. 



WORKING DRAWINGS. 



^S 

















Top 


<o 


End 


























J Front" 


.1 


z 

3 — £"— 




*■ 






\»A\ 





Plq£ 





BOX 








1* 


5 












L. 
















i i 




1 

1 






Wd 




Seal 


if 


Name - 


DoU 



The first step in the making of a working drawing 
is the drawing of lines parallel with the four edges 
of the sheet, leaving a margin of l n in case the sheet is 
9"xl2", the size of the sheet, of course, governing 
this width. This done, proceed to measure your 



4 ELEMENTARY INDUSTRIAL WORK. 

object, and, comparing it with the length and width 
of the area on which it is to be drawn, determine 
the scale. By scale is meant whether it is to be drawn 
full size, one-half size, one-quarter size, etc. The 
spaces to the right and left of the views drawn should 
be equal, but those above and below so arranged 
as to get a spacing that looks well. 

Drawing to scale is sometimes confusing to be- 
ginners. The parts are drawn to scale, which makes 
the whole drawing proportionate, gaining a definite 
idea of the full-sized article; but, in putting in the 
dimensions, use those of the article itself, otherwise 
we would not be representing what we started out 
to draw. 

In drawing the pencil lines, make them slightly 
longer than necessary, in order that they may cross 
at the corners, which will avoid errors in inking, 
since a part of the drawing is covered with the T-square 
or triangles. 

The views are placed, as a rule, just as they are 
labeled in Figure 2 — the top view with the end view 
to the right of it, and the side, or front, view directly 
below the top view. The top view is always drawn 
first, and most of the parts on the side and end view 
can be projected from this. By projection is meant 
the continuation of a certain line or lines in order 
to get a point or a part of the other view without 
measuring. The different views are never labeled 
in the real drawing, since the position for each view 
is fixed. 

Begin, having the margin lines drawn, by drawing 
the long horizontal lines. Next space off on these by 
means of dots where the vertical lines will cross. Fol- 



WORKING DRAWINGS. 5 

lowing this the shafts of the dimension lines are drawn. 

The drawing is now ready for the insertion of 
dimensions, but first, draw lines to aid in the lettering 
and numbering. After drawing said lines as shown 
in Figure 2, do the lettering; but the barbs on the 
dimension lines are not drawn in pencil, since they 
are directly done free-hand and in ink. 

The inking comes next. Ink the heavy lines 
first (visible and invisible), and then the lighter 
lines. Lastly, using a fine pen, ink in the letters, 
figures and barbs. Erase all pencil and finger marks, 
and the drawing is complete. 

If Figures 2 and 3 are not understood after the 
foregoing explanation, examine a box and try to see 
the different views. The sides of the box are nailed 
to the ends, and the bottom is nailed on the lower 
edges of both sides and ends. 

Get a better insight by making a few drawings 
similar to Figure 3 from models that may be had. 



2. LETTERING. 

Working drawings should never be labeled or 
marked in script. Script is not in keeping with the 
work, so the practice of the practical draftsman is 
followed. 

The lettering may "make or break" a drawing. 
In other words, a drawing, tho perfectly drawn, 
presents a disagreeable appearance if poorly lettered. 
It does for the drawing what paint and decoration 
do for the house. 

In our work in the grades we shall not aspire to 



6 ELEMENTARY INDUSTRIAL WORK. 

the skill acquired by a professional draftsman, but 
work away from top-heavy and poorly-proportioned 
letters. 

Lettering immediately resolves itself into drawing 
and design. It is design until a properly sized, 
shaped and proportioned letter has been decided 
upon. The execution then is simply drawing. 

The style commonly accepted is the plain 
"Gothic." It meets the requirements as to simplicity 
and ease of execution, making possible speed with 
practice. For work in the grades these should always 
be used except in designs where only a few letters 
are necessary. 

In teaching the alphabet, first draw the letters 
free-hand on the blackboard, using four guide lines 
in the beginning. This is shown in the lettering on 
the plate in Figure 2. 

The capitals, or upper case, Figure 4, should 
be taken up first. Have the pupils rule horizontal 
lines similar to those drawn on the board by the teacher. 
Discouragement can often be avoided in the beginning 
if the letters are not made too tall. It will be found 
that I" is a good height. When the guide lines have 
been drawn, lettering may be started. It is not 
well to begin and letter from A to Z. H being the 
most fundamental letter, it may be taken first. The 
vertical parts must be made at a single stroke of 
the pencil and as nearly vertical as possible. The 
horizontal is then drawn in the center or slightly 
above the center. There is only one letter that has 
the cross or horizontal line below the center, which 
is A, altho the horizontal line in G is sometimes 
drawn below the center, which is permissible. 



WORKING DRAWINGS. 



ABCDEFGHUKLMNOPQRSTUVWXYZ 



Fig 4 



abcdefghijklmnopqrsfuvwxYz 
1 2 345 '678^0 



F g 6 



ABCDEFGHIJKLMNOPQRbTUVWXY 

BDEHN ABHlTV 

BLOCK FULL BLOCK (mm EXTENDED 



The width of the letters varies from I to W, but 
the majority of them are of the same width as that 
of the letter H. 

After a line of H's has been drawn, the other 
letters in this group may be practiced — I, L, T, F, 
E and N — drawing the vertical lines first in each 
case. 

The next letters to be studied are A, M, K, W, 
X, Y, Z. No new difficulties are presented. It should 
be noticed, tho, that the M and W differ in that the 
sides of the M are straight, while those of the W 
are drawn at an angle. This angle should not be 
very large, or the letter will look weak. The Y should 
not be made too wide, or it will look top-heavy. 

The letters involving curved lines are taken 
up next— U, J, 0, Q, C, D, G, P, R, B, S. U and 
J are made by adding curves to the horizontal lines. 
The letter is made by drawing a left-hand curve 



8 ELEMENTARY INDUSTRIAL WORK. 

from top to bottom, and then a right-hand curve, 
joining at the top and bottom. What has been said 
about the U, J and will make the others possible. 
In S care should be taken to avoid making the lower 
half smaller than the upper half. 

The numerals in Figure 6 are studied next. Only 
the 6, 8 and 9 need analysis. The 6 and 9 are drawn 
as indicated by the numbers on the figures in Figure 
6, 1 being the first stroke, and 2 the second. The 
number 8 is made up of two ovals, the upper one 
being slightly smaller than the lower one. 

The lower-case letters (Figure 5) are practiced 
last. No difficulty should be experienced. Keep 
the straight lines horizontal. Only after considerable 
practice is it wise to attempt either upper case, lower 
case or numerals at an angle as shown in Figure 7. 

The width of the letters has been mentioned, 
but not in proportion to the height. This varies 
considerably; but, if it is figured mechanically, two- 
thirds is a safe proportion for average lettering. For 
sake of variety, or because of the smallness of the 
space, letters can be drawn much narrower in pro- 
portion to the height. These are called condensed, 
and show in the plate on lettering. When they are 
much wider in proportion to the height, they are 
called extended. 

Spacing is a very important consideration. Area 
of space between the letters should be equal or nearly 
so, rather than the actual distance in a horizontal 
line from one letter to another. If the spaces are equal 
in width, dark spots will appear. Therefore, H and E 
coming together should be more widely separated 
than E and F, or F and J. And even F and J can 



WORKIXG DRAWINGS. 9 

be drawn closer together than E and F. The eye 
must learn to gauge the proper spaces, as no set rule 
will always effect good spacing. T can be made to 
overlap the letter preceding or following it, and Y 
and T coming together are sometimes narrowed. 

The letters should now be drawn with the aid of 
only two guide lines. But never attempt to letter 
without any guide lines, altho some are able to work 
with but one, which is the reward of persevering 
practice. 

3. DESIGNS. 

It is desirable, even in the lower grades, to design 
titles, valentines, illuminated initials, posters, port- 
folios, etc., involving more elaborate lettering than 
has been studied up to this time. 

The block letters just below Figure 8 are the 
simplest of these, since they can be drawn without 
the aid of instruments. 

By the addition of serifs (labeled A in Figure 9) 
and spurs (labeled B in Figure 9) we make of the 
block a full-block letter. 

The "Classic Roman" (Figure 8) is an alphabet 
drawn in outline. This affords a letter that can be 
colored, which is quite effective. 

The "Italian Renaissance" (Figure 9) is quite 
similar to the "Classic Roman," but executed in solid 
and not in outline. 

Those desiring to elaborate along this line have 
only to notice what is around them. Window signs, 
magazine covers, headlines in magazines, and various 
magazine advertisements, provide ample material for 
many and varied letters and executions. 



10 



ELEMENTARY INDUSTRIAL WORK. 



A4^- 



■*f* 



fig 10 





Ftq/3 




4. GEOMETRIC PROBLEMS. 

In executing the different prob- 
lems in hand-work construction and 
design some geometric constructions 
are necessary. Only those most 
frequently used will be given. The 
problems are to be worked out 
by means of the ruler and compass. 
The T-square with triangles is not 
to be used here, since we are brought 
in contact with these problems 
when drawing board, T-square and 
triangles are not available. 

In the solution of a geometric 
problem we have three parts: 
First, that which is given; second, 
the construction; third, that which 
is required. The part required in 
the problem is drawn heavier in 
the figure than parts 1 and 2. 

I — To draw a perpendicular to 
a given line at a given point in the 
line (Figure 10): With C as center, 
and a radius less than CA or CB, 
strike arcs at 1 and 2. With 1 and 
2 as centers, and a radius greater 
than one-half the distance from 1 
to 2, strike arcs intersecting at 3. 
Draw a line from point C passing 
thru 3, which is the perpendicular 
required. 



Fi S \b 



WORKING DRAWINGS. 11 

II — To draw a perpendicular at the end of a 
given line (Figure 11): With A as center, and any 
radius, draw an arc, nearly a semicircle, cutting the 
line AB at 1. With 1 as center, and with the same 
radius, strike an arc cutting this arc at 2. With 2 
as center, and with the same radius, strike the arc 
3-4. With 3 as center, and with the same radius, 
cut the arc 3-4 in four. A line drawn from point A 
thru the intersection at 4 is the required perpendicu- 
lar. 

Ill — To bisect a given straight line or an arc of 
a circle (Figure 12): Take A and B as centers, with a 
radius greater than one-half of AB, strike arcs inter- 
secting at 1 and 2. Draw line passing thru 1 and 2 
which passed thru 3 and 4, bisecting both arc and 
line. This line is also perpendicular to the straight 
line AB. 

IV — To draw a line parallel to a given line at a 
given distance (Figure 13): Let CD be the given line 
and AB the given distance. With 1 and 2 as centers 
(any two points in the line CD), and radius AB, 
strike arcs 3 and 4; then draw EF, the required line. 

V — To bisect a given angle (Figure 14): With 
B, in the ABC, as center, strike an arc intersecting 
AB and BC in 1 and 2. With 1 and 2 as centers, 
and any radius greater than one-half the distance 
from 1 to 2, strike arcs intersecting at 3. Draw the 
line B3 which bisects the angle ABC. 

VI — To trisect aright angle (Figur 15): Withe 
B as center, and any radius, strike an arc intersecting 
A and C in 1 and 2. With the same radius take 1 
and 2 as centers, and cut the arc in 3 and 4. Draw 
B3 and B4, trisecting the right angle. 



12 



ELEMENTARY INDUSTRIAL WORK. 



VII — To inscribe a regular hexagon within a 
given circle (Figure 16): Draw a diameter cutting 
the circle at A and B. With A and B as centers, 
and the radius of the circle as radius, strike arcs 
cutting the circumference at 1, 2, 3 and 4. Draw 
1-3, 3B, B4, 4-2, 2A, Al, and the inscribed figure 
is the regular hexagon. 

To divide a circle into three equal parts (Figure 
1 6) : Draw lines from 1 , 2 and B to the center instead 
of joining the points in the circumference to form 
the hexagon. 

To divide a semicircle into 
three equal parts (Figure 16): 
Draw lines from 1 and 3 to the 
center of the line AB. This applies 
to the upper half of the figure. 

VIII — To inscribe a regular 
octagon within a given circle (Fig- 
ure 17): Draw a diameter cutting 
the circumference at 1 and 2, then 
draw another diameter at right 
angles to the first one, cutting the 
circumference at 3 and 4. Bisect 
the right angles thus formed, cut- 
ting the circumference at 5, 6, 7 
and 8. Draw lines connecting the 
intersections in the circumference, 
and the inscribed figure is the 
regular octagon. 

IX — To construct a regular 

octagon within a given square 

With ABDC the given square, draw 

With A, B, 






Flql7 

J a. 




, s is> 



(Figure 18): 

diagonals intersecting at the center. 



WORKING DRAWINGS. 13 

C and D as centers, and a radius equal to one-half 
of the diagonal as radius, strike arcs intersecting the 
sides of the square in points 1, 2, 3, 4, 5, 6, 7 and 8. 
Draw 5-3, 8-2, 4-6 and 1-7, making the required 
octagon. 

X — To inscribe a regular pentagon within a 
given circle (Figure 19): Draw a diameter AB and 
a radius EC perpendicular to it. Bisect AE at 1. 
With 1 as a center, and radius 1C, cut the diameter 
AB at 2. With C as a center, and radius C2, 
strike an arc cutting the circumference at 3. C3 is 
a side of the required pentagon. Set off this distance 
on the circumference five times. Draw 4C, C3, 3-6,, 
6-5 and 5-4, and the required pentagon is complete. 



14 ELEMENTARY INDUSTRIAL WORK. 

II. 

COMMUNITY WORK. 

In a genuine course of hand-work two things 
should be sought for: First, the interrelation of 
different problems; secondly, there should be some- 
thing about the work that should make each phase 
or part of it contribute to the whole of the year's 
work and not let any one part of it be an isolated 
fragment. And this second, which is sometimes 
violated in trying to overcome the first, is a flexible 
program prescribed by the immediate surroundings 
and interests of the children. It is never advisable 
to have a fixed and definite program to be carried 
out in every room of the grade for which it is intended. 
No flexibility is in evidence and the imagination is 
hampered. 

In choosing the form of community work to be 
executed, care should be exercised so as to avoid 
anything that will necessitate elaborate material or 
equipment. Children should be permitted to select 
the problem to be executed, but the teacher can always 
get them to choose something possible. Any local 
industry can be worked out in a simple way. An ex- 
cursion or visit to the factory should always precede 
the beginning of the work. 

Since most of the community work is construc- 
tion from paper and cardboard, do not try to exclude 
all other material. Weaving, clay modeling, and 
the use of splints and reeds are often resorted to; 
and, since this often takes up several months, work 



COMMUNITY WORK. 15 

for the special days must receive its share of time 
in due season. Exercises for Thanksgiving, Christ- 
mas, Valentine Day, Washington's Birthday, etc., 
are used to advantage. 

Among the most possible executions in the form 
of community work are the following: 

1. A barnyard scene, including the building of 

fences, representation of fowls and animals, 
foliage, etc. 

2. Street scenes, including houses, stores, churches, 

carts, wagons, telegraph poles and wires, 
trees, etc. 

3. Railway stations, including station, freight 

and passenger cars, cabs, automobiles, en- 
gines, etc. 

4. A dollhouse constructed of dry-goods boxes. 

Furnishing to include not alone furniture, 
but the covering for the walls and floors, 
and curtains for the windows. 

5. Indian life in connection with Hiawatha. 

6. History of transportation. 

7. Industries, as lumbering, mining, cotton, etc. 

8. Eskimo life. 

9. Mcdern villages, giving attention to, or using 

it to teach sanitation and to give some defi- 
nite ideas about the planning of homes. 
(When using the same industry or scene for 
different rooms of the same grade be sure that each 
room carries a distinction of its own, so that it will not 
be executed in precisely the same way as the others.) 
What has been suggested is applicable to the first 
three or four grades. And No. 9 is applicable to the 
upper grades. 



16 ELEMENTARY INDUSTRIAL WORK. 

The paper for this work should be rather heavy. 
Any of the construction papers are good, and bogus 
paper which is used for many purposes is quite de- 
sirable, since it takes crayon so well. 

The best way to use paste is to cut small pieces 
of cardboard and put a small amount of paste on a 
piece for each child, returning the paste that is not 
used to the jar. A formula for paste is given in the 
chapter on Miscellaneous Paper Sloyd, page 56. 



1 . A BARNYARD SCENE. 

White paper, scissors and paste are needed for 
this problem. It is well to have the blunt-pointed 
scissors, so that the young children will not injure 
themselves. The cuttings are free-hand, and then 
pasted on the blackboard. After the work is finished 
the paste is easily removed by washing, and you have 
a fresh, clean board. 

This is probably one of the simplest forms of 
community work, and makes an excellent problem 
for the first grade. Silhouette work is of the same 
type where the cutting is done in black paper and 
mounted on white or manila paper. The scene il- 
lustrated in plate 1 is only one of the many possible 
ones. Story-telling can be illustrated in an interesting 
and fascinating way- 
After the subject has been decided upon, let 
each child decide upon the things he will have in his 
barnyard. Then permit him to cut free-hand. You 
will be surprised at the originality that some will 
show. 



COMMUNITY WORK. 17 




18 ELEMENTARY INDUSTRIAL WORK. 

Do not infer that the cuttings of all of the different 
things are to be made at one sitting. Decide upon 
an animal or object for each lesson, and then have 
each one cut a number of these and select some of 
the best ones for mounting. It is not wise to devote 
too long a period, since the children become tired 
and possibly their interest will wane. 

After enough subjects have been gone over to 
complete the group the mounting is taken up. Let 
the children assist in the arrangement. This is favor- 
able to the blackboard, since the children can remain 
seated while the teacher or one of the pupils does the 
pasting, and in mounting the silhouette work this is 
not always possible. Emphasize the point that those 
objects nearest them appear larger than the ones 
farther away. 

The road and the water in plate 1 were done in 
crayon. This could be done to a certain extent along 
with the cuttings. 

If so desired, a hen-house could be added to the 
scene. And that would include coops and additional 
chickens. The field just beyond the barnyard gate 
might also be utilized by having a man working the 
soil with the aid of a team of horses. 

As a rule this problem will be of interest to the 
children long after it has been completed. But re- 
member that it is worth while even tho the interest 
is only transitory. 

2. A STREET SCENE. 

This is best worked out on the sand table. It 
is just a little in advance of the barnyard scene, and 
may be used to advantage in the second grade, and 



COMMUNITY WORK. 19 

with some elaboration may be repeated in the third 
and fourth if necessary. 

If no sand table is at hand, one can be readily 
made by nailing strips of 1 "x4 n to the edges of a table, 
so that they project three inches above the top, and 
then sawing the legs so that it will be of a convenient 
height for the children to work at. Any clean sand 
can be used. If no sand table can be made, use a 
large shelf or the top of a table which has been covered 
with paper. 

If this problem is being executed in a city, then a 
certain street, or a part of one, can be decided upon. 
In the country teach them about the city by means 
of this problem. Have the children work from memory, 
and begin by cutting outlines of the buildings, and 
then represent the doors and windows as well as other 
parts of a single view by the use of pencil or crayon. 
Figures 20 and 21 show two different houses. Since 
we are to represent but one view of the house, and 
that by a single sheet of paper, some kind of a support 
is necessary. Figure 25 is designed for that purpose. 
Fold on the dotted line, and paste the part indicated 
to the back of the part to be supported. 

If the paper is fairly stiff, only one support is 
necessary. 

The store in Figure 22 may be used to advantage, 
and can be varied if a shopping district is being exe- 
cuted. 

The churches in Figures 23 and 24 are typical forms. 

The piece of paper in Figure 26 is to be rolled 
and pasted for a telephone pole, and a cross-arm pasted 
at the top. If used on the sand table, the end is simply 
pushed into the sand; but, if used on the table or 



20 ELEMENT ARY IXDUSTRIAL WORK. 




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shelf, one end is cut as indicated, and, bending on 
the dotted lines, the parts are pasted to the table. 
The one in Figure 27 is much simpler, since the pole 
and cross-arm are cut out in the flat and supported 
in the same manner. 

In Figures 28 and 29 are shown two representa- 
tions of trees. They are cut out in the flat, and 
supported in the same manner as the telephone poles. 

The fence in Figure 30 is made and supported 
as in the first five figures in the plate; but, in using 
this with more advanced pupils, spaces can be cut 
out between the pickets, also some of the other prob- 
lems might have openings cut for windows, doors, etc. 



COMMUNITY WORK. 21 

Figure 32 can be represented in the flat and 
supported, which is advisable for lower grades. The 
construction for the cart in three dimensions is shown 
in Figure 31. A square piece of paper is folded into 
sixteen squares. Cut on the solid lines, and fold and 
paste. The dotted lines represent the folded lines. 
The wheels are pasted to the sides of the cart and the 
shafts to the bottom. 

The wagon with a top in Figure 35 can also be 
represented in the flat or constructed in three dimen- 
sions. A square (Figure 33) is folded, and then cut 
on the solid lines as indicated. Figure 34, used for 
the top, is not a separate piece in addition to the 
square, but is cut from the row of four squares at the 
bottom of Figure 33. The pasting is similar to that 
of the cart. The body of the wagon is open in the 

rear. This body can be shortened, in which case a 

buggy will appear. 

No construction is given for the dray in Figure 

36. This can be worked out, however, if the previous 

constructions have been executed. 

The street car in Figure 37 is slightly different, 

being more like an inverted box with the ends closed. 

The wheels are pasted on the inside, as indicated by 

the dotted lines, and are smaller than those on the 

wagon. 

A monument, such as we find in various cities, 
usually in a public square, is shown in Figure 38.' 
The constructions (Figures 39 and 40) are self- 
explanatory. No flaps are shown for securing one 
to the other when the smaller one is placed upon 
the larger. These may be added if the pupils are 
advanced enough. 



22 ELEMENTARY INDUSTRIAL WORK. 



COMMUNITY WORK. 23 

3. DOLL-HOUSE CONSTRUCTION. 

This can be used to advantage in any of the 
first three grades. 

It is necessary to first have the house, and then 
construct the furniture, tint or paper the walls, and 
treat the floors, because furniture is never bought 
and then a house built to suit the furniture. The 
teacher will remember that, either consciously or 
unconsciously, he will teach these children things 
about home-building that will influence them very 
materially in their later life in reference to home- 
building as well as its furnishings. So let us be ex- 
tremely careful that we teach nothing that is vulgar 
or untruthful. Keep to the simple constructions 
involving few curves, and let the decorations be simple 
if any is necessary. Simple furnishings and furniture 
are not only more beautiful and artistic, but more 
sanitary. They are sanitary, since straight edges 
and smooth surfaces do not provide a place for dust 
to accumulate and germs to breed. Highly-carved 
furniture, even when well cared for, is dusty nearly 
all of the time. 

To make the house itself use dry-goods or soap 
boxes. They are placed on their sides with the top 
or open part of the box representing the front of the 
house. Notice the box in Plate 2. If the box is large 
enough a partition can be added, which divides the 
box into two stories. Then, by nailing parts of another 
box together, a gable roof is formed. If the boxes 
are small, one can be placed upon the other, forming 
the two stories in that manner, which is a much 



21 ELEMENTARY INDUSTRIAL WORK. 

simpler operation. Each of these stories may then be 
divided into rooms. Windows are cut, and casings 
may or may not be made, depending upon the facilities. 
Cigar boxes cut into strips make good material for 
casings. If the house is to be painted, do so at this 
time. A very small can of paint bought at a drugstore 
is sufficient, or some boy will usually volunteer to 
bring the paint from home. The tools needed are a 
saw and a hammer. These may be had in the same 
way as suggested with reference to the paint. A steel 
square can also be used to advantage, but is not 
absolutely necessary. The nails extracted from the 
boxes will prove ample. 

The walls of the kitchen may be covered with 
paper tinted gray. Then a wainscoting is also de- 
sirable, and can be made from strawboard, ruling 
pencil lines to represent the beading. If no special 
material has been provided, tablet backs can be used. 

The paper in the bedroom may be decorated by 
the repetition of some simple unit. Chapter XI may 
be consulted. 

The dining-room may be a plain color, beginning 
on the lower parts of the wall, and gradually becoming 
thinner until it is a light wash on the ceiling. 

For the floor in the kitchen use designed linoleum, 
to be executed in black or appropriate color. Folding 
manila is a most excellent paper for this, but other 
paper can be used. The designs worked out in single- 
mat weaving in the chapter on weaving afford ex- 
cellent suggestions for this design. 

If matting is wanted for one of the rooms — say, 
the dining-room — it can be woven from raffia. This 
weaving is also given in the chapter on weaving. 



COMMUNITY WORK. 25 

Rugs are described in the same chapter. Four small 
rugs can be woven and sewed together, forming an 
art square. If a pattern is involved, each fourth has 
a part of the pattern, and will be complete when the 
four are put together. The Figures 41-64 are quite 
complete, the dotted lines representing folded lines, 
and the solid ones cut lines. Uniform-sized squares 
of bogus or construction papers are used. Con- 
venient sizes are 6" or 8". 

The constructions are all based on the sixteen 
squares. The folding should be done in concert as 
described in the chapter on weaving under the heading 
"Right and Left Weaving." Brown wrapping-paper 
is a good substitute for the papers mentioned. 

If this text is being used without an instructor, 
do not attempt to interpret the figures by merely 
glancing over them. Take a square of paper, and 
fold and cut as you attempt to read the figure, and 
success is assured. 

After folding Figure 41, cut on the solid lines, 
and then, putting the large piece together, a chair is 
constructed. The squares that have a cross in them 
fall away and are not used. The seat will be one 
square from the floor, with the back two squares in 
height. The children will probably suggest of their 
own accord that the back is too tall. Draw diagonals 
in the upper square, and cut as in Figure 41. If the 
children are not yet familiar with the term "diagonal," 
this affords an easy opportunity of teaching it. The 
three squares marked "support" are to be pasted on 
the back of the chair, making it stronger. It saves 
time to do this at the time of pasting and before the 
back is cut down. 



26 



ELEMENTARY INDUSTRIAL WORK 



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COMMUNITY WORK. 27 

Figure[42 (the cupboard) is put together just 
like a box.| Then the three squares labeled "shelf" 
adjust themselves without difficulty. 

The settee in Figure 43 is cut as indicated, and 
put together by using the part with the diagonal 
cuttings for the backs and arms. This makes the 
seat one square in height and the back the same. 
The half for the seat is first folded and pasted and 
the back and arms pasted around it. The washstand 
(Figure 44) is easily solved. The back is folded up 
after folding, and the stand is complete. Places 
can be cut at the bottom the same as on the chif- 
fonniere in Figure 45. 

Too, drawers and a door are represented on the 
paper in crayon or pencil. The chiffonniere (Figures 
45 and 46) is similar to the washstand. After con- 
structing Figure 45 cut out Figure 46, and paste a 
piece of white paper (Japanese rice paper is excellent) 
over the opening and on the back side to form the 
mirror. This is then fastened to the back of the body 
of the chiffonniere by pasting, having the top edge 
coming to the folded line below the mirror. 

Figures 47 and 48 show two tables. The one in 
47 is like an inverted box with the legs added. The one 
in Figure 48 is made by first getting out the rails, 
which are made like an inverted box. The top is 
pasted on the rails, having it project over an equal 
distance on the four sides. Add the legs, and the table 
is complete. The tapers are added as indicated in 
the one that is adjoining the rails in Figure 8. This 
is more readily done by cutting them out square, 
folding and cutting the two edges at the same time. 
The Morris chair (Figure 49) is similar to the straight 



28 ELEMENTARY INDUSTRIAL WORK. 

chair in Figure 41. In reality it should be somewhat 
larger than the straight chair. It is constructed in 
the same manner, and then the four squares are pasted 
around the chair, forming the arms. This also in- 
clines the back of the chair. 

Figures 50-52 are self-explanatory. The four 
squares that fall away in making the screen (Figure 50) 
may be used to make the pipe for the stove. The 
doors represented in Figure 51 are done in pencil, as 
mentioned in Figure 44. In fact, all of these pieces 
of furniture should have doors, etc., represented in 
pencil. This also includes the cover for the stove. 
Figure 52, after cutting, readily becomes Figure 51. 

Two ends are needed for the cradle in Figure 53. 
The design drawn is by no means the only one. Where 
necessary it can be made much simpler. The body is 
folded and cut as indicated, and an end with the 
rocker attached is pasted at either end. The bed in 
Figures 54 and 55 is so similar to the cradle that it 
will not be necessary to describe it. 

The rocker (Figure 56) is typical of the manner 
in which any of these constructions can be elaborated 
upon. 

The tabouret in Figure 57 shows two forms of 
decoration for the sides. There are many others, but 
avoid sharp curves and angles. 

Figure 58 is a davenport readily constructed from 
the figure. Seats for the lawn can be made in a similar 
manner. 

Figure 59 is the construction for the body of a 
swing which is to be suspended similar to a porch 
swing. The construction is readily worked out from 
the figure, the seat being pasted to the inside after 



COMMUNITY WORK. 



29 



the body has been finished. Strips of pasteboard 
with one end bent may be crossed to make supports 
and the bent ends pasted to the floor. 



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Figures 60-62 show the construction for the 
summer-house in Figure 63. The base or floor is 
shown in Figure 60, and the support (Figure 61) for 
the roof (Figure 62.) The posts shown in Figure 63, 
on which the support for the roof is placed, are not 
represented by a construction. Flat splints may be 
used, or posts can be made of paper with flaps at 
either end for pasting. The summer-house is a val- 



30 ELEMENTARY INDUSTRIAL WORK. 

uable addition to the lawn if a large table-top or shelf 
isjised to support the doll-house. 

The steps in Figure 64 are necessary where the 
doll-house has a foundation. Only two steps are 
ordinarily required. Figure 64 makes an excellent 
grand-stand if working out a project that demands it. 

A broom is constructed by securing a number of 
short pieces of raffia to one end of a small splint, and 
fraying out the raffia with a pin. 

Any other articles of furniture desired in a scheme 
of this kind are readily worked out if the twenty-four 
figures given are understood. Simply study the piece 
of furniture you wish to make, and then take the 
folded square and begin operation. Stopping to think 
how difficult it will be never does anything but harm. 

Such additional-articles of furniture as pianos, 
bookcases, writing-desks and kitchen cabinets are 
desirable. 

No constructions for the gymnasium shown in 
the attic of Plate 2 are given. These are readily 
executed, some of them even without studying the 
objects themselves, as ladders, dumbbells, Indian 
clubs, mats, trapezes, etc. 

As has been suggested in Figures 58 and 63, the 
yard is a part of the general scheme. Bogus paper 
makes good concrete walks. Trees and shrubs are 
constructed from green paper. Green twigs should be 
avoided if possible, since they dry up and are not a 
good representation of shrubbery. With very young 
children, however, it is permissible. Tennis courts and 
swings are also suggested. If a barn is to be included, 
its construction can be had from the following section 
on houses. 



COMMUNITY WORK. 



31 



4. THE BUILDING OF HOUSES. 



The construction for a house given in Plate 3 
can be executed by fourth- or fifth-grade children. If 
it is necessary to use it for such a grade, different-size 
houses may be constructed, and some of them may 
have the chimneys omitted and be used to represent 
barns. Bogus paper, folding manila, tagboard and 
the various construction papers may be used. 




The dotted lines are to be folded, and the solid 
lines represent the ones that are to be cut. The flaps 
are for pasting when putting the house together. The 
roof will be found the most difficult to paste. 



32 ELEMENTARY INDUSTRIAL WORK. 

This problem increases in interest, however, when 
it is used as a seventh- or eighth-grade project, where 
the classes have acquired considerable skill in the 
measuring, cutting and manipulation of the paper. 
Plate 4 shows parts of two villages constructed in the 
manner here suggested. 

The first steps are the construction of a - house 
such as the one in Plate 3, being careful that accurate 
results are obtained. If the class is advanced enough, 
a simple free-hand drawing of the front and end ele- 
vation should precede the construction. After the 
house has been constructed, the drawing of the floor 
plan, end elevation and front elevation should be done 
with the aid of a ruler. Two elevations and the floor 
plan are shown in Plate 3. If drawing-kits are avail- 
able, they should be used here. Consult the chapter 
on mechanical drawing unless it is quite fresh in your 
mind. A house or building for the village is next 
decided upon by each member of the class. These 
may be chosen from books or magazines that are to 
be had, or from houses that are to be found in the 
vicinity of the school. 

Here again it is necessary to have sketches of the 
elevation and of the floor plan. At this stage it is 
necessary to decide upon the size of the lots, other- 
wise the houses will not fit well into a city scheme. 
If the class is large, and the place for mounting the 
city not correspondingly large, 9"xl2" will be found a 
convenient size. 

A plan of the lot, full size, is next drawn, and the 
house located by means of the floor plan for the 
house. Then finish the plan for the lot, which will 
include walks, grass and^shrubbery. It may include, 



COMMUNITY WORK 



33 




34 ELEMENTARY INDUSTRIAL WORK. 

in addition to this, a garden, barn, fences, garage, etc. 
Be sure that the house is first represented on the lot 
by the floor plan, and then the walks, shrubbery, 
etc., because, as a rule, houses are not built to accom- 
modate shrubbery, etc., but the shrubbery, walks 
and other additions are made to beautify the house 
and make it more convenient. 

A pattern is first constructed from bogus or 
manila paper. The main part of the house should be 
made from one piece, however. If necessary, single 
rooms or galleries may be added. The dormer and bay 
windows are constructed separately and pasted to the 
house. Foundations should be represented. Bogus 
paper is used to advantage as concrete, stone or stucco 
work. The columns for the verandas and porches may 
be made either square or round. 

In choosing paper for the construction of the 
house itself, use a darker tone of the same, or another 
color, for the trimmings or roof. The windows and 
doors may be represented in several ways — by ruling 
lines and pasting on the paper for the casings, cutting 
out the windows and pasting thin paper on the inside, 
pasting a piece of paper on the inside on which draped 
curtains have been drawn in pencil or ink. 

While the work is going on, an opportune time 
for teaching the pupils and having them become 
familiar with the various parts of a house is afforded. 
Such terms as corner-board, water-table, weather- 
board, entablature, cornice, frieze, architrave, rake 
and return of cornice, corona, facia, post, capital, 
parts of the window (muntin, meeting-rails, sash, 
casing or trim, sill, and wash), etc., should now become 
a part of their vocabulary. 



COMMUNITY WORK. 35 

The house completed and the other demands of 
the plan executed, a complete working drawing is 
made. Make as many elevations as are necessary. 
Only one side elevation is necessary if both sides of 
the house are constructed alike. A in the floor plan, 
Plate 3, represents a door, and B windows. 

This problem always carries so many good things 
with it that it has been found very much worth while. 
It reflects to a large extent the living ideals of the 
children, and affords us an opportunity of correcting 
them where they are wrong. 

Many uses can be made of this problem. In 
addition to an ordinary village, it may be used to 
execute villages in connection with geography. Tropi- 
cal villages can be made an interesting method of 
teaching history, and the tropical towns become much 
more real when brought to the schoolroom in minia- 
ture. The Spanish and other architecture can be 
taught and made a concrete rather than an abstract 
thing. Last, but not least, we can build Japanese 
villages, and represent that nation at home and at 
work surrounded by beauty. 



36 ELEMENTARY INDUSTRIAL WORK. 

III. 
SPECIAL-DAY EXERCISES. 

As has been suggested in the preceding chapter, 
there has always been a demand for special-day 
exercises. Of these, Christmas, St. Valentine, Wash- 
ington's Birthday and Easter will be considered. 
Before proceeding farther with this work, get in mind 
the fact that you should notice from time to time 
how suggestions offered for one of the special days 
may readily be converted into material for any of 
the others. The progressive teacher can take advan- 
tage of this, and always have a large number of dif- 
ferent projects if there is a need for them. 

The execution of these depends on the age and 
ability to handle material. Crayon should be used in 
the lower grades, and replaced by water-colors as 
soon as possible. Lettering should be done, as a rule, 
in black. It makes a pleasing variety to have some 
of the work outlined in black and then filled in in 
color, especially where a somwhat similar card, calen- 
dar or booklet is used in several of the grades. Any 
kind of drawing or construction paper may be used. 
Bristol board can be put to many uses. Be especially 
careful of the lettering in all of this work. The chapter 
on mechanical drawing should be consulted in lettering. 
Good results in lettering should be demanded as low 
as the third grade, and surprisingly good results 
will be obtained in the first and second grades if a 
little special attention is given to it. The letters 
should for the most part be drawn free-hand. Avoid 



SPECIAL-DAY EXERCISES. 



37 



long quotations or greetings in the lower grades. If 
there is a lack of material for the decoration of these 
projects, consult the chapter on designs. Envelopes, 
gift boxes, hanging baskets, May baskets, and candy 
boxes will be included in this chapter. 

1. HOLIDAY SEASON. 



For the decoration of these, the motifs have been 
taken from Christmas symbols or things associated 
with the holiday season. 



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Figures 65 and 66 are very simple calendars 
designed for the first two grades. The circles are 
holly berries, so they will be colored red. The lines 
may be green or black. The square and oblong forms 



38 ELEMENTARY INDUSTRIAL WORK. 

represent the places for the calendars. The small 
calendar pads, which can be obtained from any drug 
or novelty store, or ordered along with other materials, 
are pasted in place as indicated. The calendars are 
then complete. 

Figure 67 is shown ready for a greeting. The 
card or frame is made from a square piece of paper. 
Begin by folding it in the center both ways. The 
folds are indicated by the dotted lines in the figure. 
Then fold each corner so that it comes just to the point 
where the dotted lines cross. The corner is then 
folded back again, taking the position shown in the 
figure. Any simple design may be used on the corners 
and colored or inked. The motto or greeting is lettered 
on a square of paper and placed inside of the square, 
thus covering the lines left by folding. The diameters 
may be ruled on the back side, and the greeting 
lettered on the folder itself. 

This project can be used for a picture frame, 
valentine or Easter card. It may be varied by 
punching holes and tying at each corner with cord, 
raffia or ribbon. Cutting away the small corners or 
triangles makes a larger unit possible. 

The bookmark in Figure 68 speaks for itself. 
The wider part at the top, which has the conven- 
tionalized tree, is folded over. 

Figure 69 makes a very attractive folder, and 
can be used for any of the special-day projects, and 
also makes a very attractive form of invitation. In- 
vitations are often made to use in inviting parents 
and friends to school exercises or programs, and 
afford not a little training for the children. The 
greeting may be written on the inside if done by 



SPECIAL-DAY EXERCISES. 39 

young children, and a simple decoration used on the 
cover. For older children using the design in Figure 
69, letter the greeting on a separate piece of paper, 
and paste by putting a small amount of paste in one 
spot, just enough to keep it in place. 

A little in advance of the preceding are Figures 
70-72. For the cover a heavier paper is used. This 
is cut away and folded in the center as shown in 
Figure 70. The leaves are cut just a little smaller, 
so that the covers will project a little beyond the 
leaves, as they do in any book. It will be well to 
emphasize again that we should always notice the 
practical example of the article that we are construct- 
ing. The design in Figure 71 is a most simple one, 
and can also be worked into a border. The one in 
Figure 72 is more difficult to execute, and is intended 
for older children. The suggestions in Figures 76-78 
may also be used so as to have a variety. 

Figure 73 is simply a card, showing what can be 
done in this direction. Stress should be placed on 
the lettering. This card demands an envelope; in 
fact, all of the projects in the holiday class do. The 
plate, including Figures 79-89, shows three styles of 
envelope. The one in Figure 81 is most desirable 
for gift-work. The proportion should be first worked 
out for the finished envelope, and enough added for 
the flaps in order to ascertain the dimensions of the 
paper from which it is to be cut. After the paper is cut, 
draw the pencil lines indicated by the dotted lines. Cut 
the flaps as indicated in the same figure. The envelope 
folded and pasted in Figure 89 shows that the flap at 
the top is rather narrow. This is done so that it is 
more easily closed. 



40 ELEMENTARY INDUSTRIAL WORK. 

Figure 74 is a decorative calendar, differing from 
Figures 65 and 66 in the design and proportion only. 
Children who attempt this and cannot draw well may 
cut a holly leaf from paper and mark around it in order 
to get all of the parts alike. This calendar is supported 
in the same way as the different projects using the con- 
struction given in Figure 25. 

The folder in Figure 75 is similar to Figure 69. 
The Christmas tree may be used in many other decora- 
tive ways. Figures 76-78 show simple borders. 

Many additional projects could be suggested, but 
the ones given are more than sufficient to give material 
for a working basis. Only remember not to try to do 
detailed and elaborated projects. 

2. ENVELOPES. 

Figures 79-82 show the different steps in the 
execution of a very simple and effective envelope. 
A square piece of paper is cut and folded as indicated 
in Figure 79. Then Figure 80 shows it folded a single 
time, making two thicknesses of paper; Figure 81 
shows that each lower corner is folded towards the 
center; and Figure 82 with the upper corner or triangle 
folded down, making the completed envelope. The 
envelope is then partially unfolded and pasted. The 
last or upper flap in Figure 82 is not pasted unless it 
is to be sealed, and even then, if using it for gift-work, 
it is more effective and satisfactory if inclosed in an- 
other envelope. This envelope is especially desirable 
for small children who can do no measuring at all. 

No dimensions are given for the report-card 
envelope shown completed in Figure 85, since the 



SPECIAL-DAY EXERCISES. 



41 




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sizes vary. In order to determine the size of paper 
from which it is to be made, take for the size of the 
large oblong in Figure 83 slightly more than the size 
of the card, in both length and width. To get the 
width of the oblongs on either side, add f " to one- 
half of the width of the large one. The width of the 
flap on the lower part of the envelope is to be cut in 



42 ELEMENTARY INDUSTRIAL WORK. 

proportion to the size. Figure 84 shows Figure 83 
after cutting on the solid lines, and is ready for pasting. 
After pasting cut a niche at the top of the envelope 
as shown in Figure 85. This aids in withdrawing the 
card from the envelope. 

Figures 86 and 87 need little explanation, the 
size of the paper being determined in the same manner 
as in the paper for Figure 85. Notice that the flap 
below the large oblong is much wider than the one 
above it. This is more appropriate for the gift en- 
velope, since the upper one is inserted in the envelope 
instead of pasting it. If it is to be pasted, the flaps 
may be of the same width. Be careful to have the 
corners of the lower flaps to coincide with the edges 
of the flaps on the ends. 

These envelopes are suitable for all of the gift- 
work. 

3. BOXES. 

The boxes in Figures 88-92 are typical of what can 
be done in the way of making boxes. Figure 88 is 
one of the simplest that can be executed. A square 
of the desired size, and three dots made on each 
edge, dividing the edge into four equal spaces, are 
first executed. Then draw lines for folding, indicated 
in Figure 88 by the dotted lines. Fold and cut solid 
lines as indicated. In folding it will be seen that 
the four corners make a suitable top, or cover. Paste 
where necessary to hold the sides together. 

A plain open box is shown in Figure 89. Cut 
on the solid lines and paste the flaps on the inside. 
This box may be used with or without a cover. The 



SPECIAL-DAY EXERCISES. 



43 



cover is made in the same manner. The sides are 
not to be more than 1" in height. It is constructed 
(Figure 90) the same as Figure 89. 




F'q5fe 



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A 


- 






K "7 






Lur 


uj p 






90 





69 






VT 



S/ 



S£ 



The gift-boxes in Figures 91 and 92 can be varied 
both in design and construction, especially Figure 92, 
which may be decorated by repeating some unit, 
using a block print. Consult the chapter on design 
which explains about the cutting of the block as well 
as designing the unit. 

4. ST. VALENTINE. 



No large number of motifs are available, but much 
can be done with those suggested in Figures 93-107. 



44 ELEMENTARY INDUSTRIAL WORK. 

Avoid the gaudy colors except for very young children. 
A heart will not appeal to them unless it really is red. 

Figure 93 may be made from one or two pieces 
of paper. Fold a piece of paper in the center, and 
cut the desired shape so that both halves of it will 
be uniform. For the lower grades cut a large heart 
and a small one, pasting the white one on the red 
one. The message or greeting is written on the white 
one. If one heart is used, draw a small heart on the 
large one, and the message will be in the same position. 

The construction for Figure 94 is simplest if a 
large heart is cut and parallel lines drawn on it, making 
smaller hearts so that they may be cut and drawn in 
turn, thus having the whole set conforming to the 
same shape. The large one drawn, cut for the second 
one; draw the second, and cut for the third, etc. 
Punch holes and secure by means of cord, or cut 
slits, and use ribbon. Lettering is done free-hand. 
Remember the suggestions offered in the preceding 
pages. 

Figure 95 is made in two ways. The two hearts 
may be cut separately and then secured with ribbon 
or cord, with a bow at the end for hanging. To make 
it more difficult, but stronger, draw it so as to be 
cut in one piece. 

Figure 97 is designed to have a message written 
between the two covers and a greeting on the outside 
cover. Figure 96 shows the construction for Figure 
97. Color is applied around the outer edge without 
guide lines, which gives an irregular outline, dividing 
the white from the colored part of the valentine. 

The fire-cracker valentine (Figure 98) will be of 
great interest to children in any of the elementary 



SPECIAL-DAY EXERCISES. 



45 



grades. Use red paper for Figure 100. This is to 
form the fire-cracker proper. Roll it on a pencil or 
some round object, and paste. Then slip out the 
pencil, and you have a red tube. Figure 99 is for 
the message, and has a piece of cord pasted along 




101 



^S \Alentini 



ioz 



<3? 



»04 






V 



46 ELEMENTARY INDUSTRIAL WORK. 

one edge. Write the message and roll around the 
cord, and slip into the tube. It will unroll enough 
to keep it in place. The part of the cord left hanging 
out forms the fuse, and is used to withdraw the mes- 
sage. This makes it equal in appearance to a real 
fire-cracker and far less harmful. 

Figures 101-104 are cards, and show different 
methods of decoration. 

The folder in Figure 105 is intended to have the 
message printed on a card and mounted under the 
covers of the folder the same as in the Christmas 
folders, Figures 69 and 75. 

Figure 106 illustrates what may be done in the 
way of booklets. The envelope in Figure 107 is but 
one of the possible decorations. The different-sized 
hearts may be drawn in the same manner as sug- 
gested in Figure 94. 

Avoid the use of darts or arrows as much as you 
can, and especially the cutting of them attached to 
the hearts, for that makes a poor construction, since 
the darts are so weak that they tear off easily, thus 
making a valentine shortlived. 

5. WASHINGTON'S BIRTHDAY. 

Programs are often planned at this season that 
require some of the classes to parade or march, and 
banners, shields, badges, etc., are needed. 

A very effective badge is made like Figure 109. 
Cut three circles of the same size (Figure 108), one 
of each, red, white and blue. If paper in the three 
colors is not available, drawing paper may be colored. 
After the circles are cut, cut a line from the center to 



SPECIAL-DAY EXERCISES. 



47 



the circumference, as shown in the figure. The circles 
are then slipped within each other and turned, so as 
to adjust themselves, showing equal parts of red, 
white and blue (Figure 109). Paste so they will 
remain in place. 






A 


!____ n 


\\ 


1 ^ 




in 






Ifi 


^-t-ff^tT 



For the shields (Figures 1 1 and 1 1 1 ) use drawing 
paper. A half sheet, 6"x9", is a good size. To get a 
pattern, fold paper in the center lengthwise, and cut 
free-hand for the form of the shield, and trace on the 
drawing paper. Measure down a proportionate dis- 



48 ELEMENTARY INDUSTRIAL WORK. 

tance from the top for the blue field. The stripes 
are then measured and ruled. The stars are cut and 
traced on the blue field. The shield is now ready for 
color. Crayon or water-colors may be used. For 
very young children the stars may be cut from colored 
paper and pasted in place. 

If banners for marching are desired, attach same 
to a pole as shown in Figure 112. 

A simple hat is shown in Figure 1 1 4. The con- 
struction (Figure 113) is quite simple, being only a 
circular piece of paper folded in six places. Draw 
three radii, and fold nearly half their length, beginning 
at the circumference. The other three folds indicated 
in the figure complete the hat. 

A good size for a tent (Figure 115) is 6"x9". 
Begin the construction by folding the dotted lines as 
indicated in Figure 1 16. Cut ends of the folds in the 
center as indicated in Figure 1 1 7 . The tent is then 
set up and pasted at the gables. 

The soldier's knapsack in Figure 1 1 8 is dimen- 
sioned; not in inches necessarily, but in terms of a 
unit. It is folded lengthwise and pasted. The flap 
with the 1 \ is the one used for closing. Then a piece 
of paper is pasted with an end on each side to act as 
a shoulder-strap for carrying. 

Figure 1 1 9 shows a more elaborate hat than the 
one in Figure 1 1 4. The brim is shown in Figure 1 20. 
The dimensions are given on the hat. The central 
part is cut out and the crown shown in Figure 121 is 
cut and put in place. The band in Figure 1 22 is pasted 
around the crown. If the folds on the dotted lines in 
Figure 1 20 were carefully made, the hat is now complete. 

Flags may be made of cheesecloth, and colored by 
using water-colors. 



SPECIAL-DAY EXERCISES. 49 



6. EASTER SEASON. 

If the previous parts of this chapter have not 
been worked out, it will be well to at least read them 
before attempting the Easter problem. 

To make the card in Figure 123, cut a pattern 
and mark around it in order to cut the eggshaped 
pieces of drawing paper, or whatever kind of paper 
is being used. It may be finished by simply coloring 
and securing by means of a cord or ribbon. The 
drawing on the card in Figure 123 may be executed 
if the pupils can draw the figures. A drawing in out- 
line is easier and perhaps better. 

This card may have the greeting only if that is 
sufficient. Instead of having two separate pieces for 
the upper part, let the pattern overlap the one already 
drawn on the paper, and then cut out the two in one 
piece. 

Figure 124 is a modification of Figure 123. Cut 
a pattern of the largest egg and mark around it. 
Cutting it down by means of a line parallel with the 
edge, use it to trace the second egg, etc. Secure in 
the same manner as Figure 123. 

Figure 125 is a folder with a suggestion of what 
may be done in designing simple bands or borders. 

The executions shown in Figures 1 26 and 1 27 are 
for cards, or place cards. The shading may be omitted 
and the drawing outlined in black and then covered. 
In designing them, avoid having small parts that 
project out from the large parts like the ears of the 
rabbit. When made long and small they are weak 
and tear off easily. 



50 ELEMENTARY INDUSTRIAL WORK. 




SPECIAL-DAY EXERCISES. 51 

Figure 128 is intended for a greeting-card, but 
may also be used for the decoration of a folder or 
booklet. 

The cover is not shown in Figure 1 29, but it may 
be left plain and colored, or it can be decorated. If 
yellow is used, a light wash could be applied, and as 
soon as the card is dry make the edges a darker 
yellow with an irregular line dividing the two yellows 
like the valentine in Figure 97. The message or greet- 
ing is written on the inside of the cover, or on part 
marked "A" in Figure 129. 

As was suggested in the beginning of this part 
of the chapter, which treats the Easter season, many 
of the projects used for preceding holidays may be 
converted into simple Easter cards, folios and booklets. 

7. HANGING, GIFT AND MAY BASKETS. 

The first of these, shown completed in Figure 
132, may be used in various ways. It is especially 
desirable as a May or hanging basket. Drawing 
paper may be lised and colored if colored baskets 
are wanted and no colored paper is to be had. 

Cut an oblong of the desired size three times 
the size of Figure 130, which makes a good-sized 
basket. Draw the necessary lines on the paper for 
folding and cutting, and proceed with cutting and 
folding. The lines like BC are drawn in pencil and 
cut half-way, as shown in the drawing, by the solid 
lines. Interlace the triangles at the sides of the basket, 
and it is ready for the handle. The handle is shown 
in Figure 131, and, after cutting half-way across near 
each end, it is attached to the basket, interlacing at 
the small cuts labeled "A." 



52 



ELEMENTARY INDUSTRIAL WORK. 



This basket may be made larger or smaller than 
has been suggested. It affords a simple construction, 
involving no paste or sewing of any kind. 

The basket shown in Figure 134 is similarly 
constructed. Drawing paper, some paper that will 
take color, is needed. 



y( 


/ 
/ 

/ 
/ 
/ 

/ 


4! 


/ 
/ 
/ 

/ 
/ 
/ 


V 

\ 

Ac 




I3Z 



Fiys 130 

Draw a line across the center of the sheet. The 
line is indicated by A in Figure 133. Next find the 
center at the end of the paper indicated by C and 
make dots. Then measure down from the corners 
distances equal to half the distance across the end. 



SPECIAL-DAY EXERCISES. 



53 



These dots are indicated by B and D. Draw 
lines BC and BD, and angle BCD will be a right 
angle. Then draw the lines at the ends of the line A, 
making the angles like DEF right angles. The circles 
for the center of the flowers are next drawn, 
making them as large as possible in order that 
they will be strong when interlaced. Cut on the 




F« q 133 



Fiql3S 



54 



ELEMENTARY INDUSTRIAL WORK. 



solid lines of the triangles, and also cut out the spaces 
between the petals. Color the petals yellow and the 
centers brown. Interlace the sides of the basket 
and the ends of Figure 1 35 with the sides of the basket. 







w 



F13/37 



The baskets in Figures 1 36 and 1 37 are similar 
in construction. The one in Figure 137 is made up 
of nine squares and has a handle in addition. Draw 
diagonals on the corner squares, and draw in a half 
of a butterfly in each half of the square as has been 
done in the figure. The dotted lines are folded and 
cut on the sides of the corner squares so that they 
will interlace in order to put the basket together. 



SPECIAL-DAY EXERCISES. 55 

The ends of the handle interlace, forming a handle 
with a butterfly at the top. Also the interlacing makes 
a butterfly at each corner of the basket. The butter- 
flies may be colored in water-colors or crayon. A 
good effect may be obtained by dotting the wings 
with black after coloring. The basket in Figure 136 
is the same, except that the square in the center 
determining the size of the basket is much larger 
than the ones at the corners. 



56 ELEMENTARY INDUSTRIAL WORK. 

IV. 
MISCELLANEOUS PAPER SLOYD. 

Special occasions always arise that demand cer- 
tain projects in paper and cardboard that are not 
mentioned in the other chapters of this book, and 
usually we have some children who can carry out their 
projects more quickly than can their classmates. This 
affords material for extra problems. 

Paste is usually purchased in large quantities, 
but sometimes it becomes necessary for us to make 
our own supply. A good paste is made by taking 
one cup of flour and one teaspoonful of dissolved 
alum. Mix the flour with a little cold water, being 
sure to get out all of the lumps. Add four cups of 
hot water and boil for three minutes, stirring con- 
stantly. Add a little essence of peppermint when 
done. This gives a flavor and prevents souring quickly. 

Figure 138 shows a 6" square folded on the line 
AB, drawn J" from the top. Dots are made on this 
and on the folded edge at intervals of V\ and lines 
drawn connecting the dots that are opposite each 
other. Cut on the lines, taking care that you stop 
just as you get to the line AB. 

To make a lantern of this, unfold and paste the 
sides together, overlapping each other J". A dark 
strip of paper J" wide pasted around the top, and one 
around the bottom, improve the appearance. Paste 
a narrow strip of paper to one end for hanging (the 
same as the strip used for a handle in Figure 146). 



MISCELLANEOUS PAPER SLOYD. 



57 



Figure 139 is a sled. To find the width of the 
paper, add to the width of the sled twice its height. 
After the paper is cut to size draw a pencil line in the 
center, represented by the light solid line. Set the 
compass on this line in drawing the semi-circum- 
ferences. The drawing shows the remainder of the 
construction in such a way that it is not necessary 
to describe it farther. 



F.ql33 



4 



Fig 139 



\ / 



FiqiA-Z 




f7gl4/ 

Figure 140 (the canoe) is of a suitable size if 
made from a piece of paper 3"x5". Construct by 
folding in the center lengthwise. Then draw pencil 
lines, represented by light solid lines in the figure, 
in the center of each half. Using these lines as centers, 
draw the four circles necessary. Draw heavy lines 
from circle to circle, then cut on all of the heavy 



58 ELEMENTARY INDUSTRIAL WORK. 

solid lines. Fold on the dotted line in center and 
sew ends together as shown in Figure 141. Raffia 
or cord may be used in sewing. Streak the sides of 
the canoe with crayon so as to make it resemble 
birch-bark. 

Figure 142 is an Easter basket. Cut a square of 
the desired size, using the actual measurements in 
Figure 142 as a unit, and enlarge as many times as 
you choose. For all of the dimensions enlarge in a 
like manner. 

Draw lines across the centers each way. With 
the point of crossing as a center, draw the large circle. 
Then taking the four points where the large cuts circle 
the diameters as centers, draw the four small circles 
that are drawn in heavy solid lines, meaning that 
they are to be cut out. Be sure that the radius of 
the small circle is just the distance from the center 
to the edge of the piece of paper. Next, with the 
eight points where the small circles cut the large one 
as centers, draw circles using the same radius. Cut 
out the four small circles first drawn, the parts of each 
of the small circles shown in heavy solid lines, and the 
parts of the large circle joining the small circles. 
Draw the square, represented by the dotted lines in 
the figure. Tie the basket at the corners, add a handle 
by pasting on the inside, and the basket is complete. 

Figure 1 43 shows a tray constructed from a square. 
Cut on the solid lines, fold on the dotted lines, punch 
holes, tie at the corners, and the tray is finished. A 
simple design may be painted on the sides if desired. 
Figure 146 is a sketch of the finished pail constructed 
from Figures 144-145. The circular piece is cut 
first, and then, estimating the circumference from 



MISCELLANEOUS PAPER SLOYD. 



59 



this, we plan Figure 144. The distance from the line 
A to the dotted line is the circumference. The dis- 
tance from the dotted line to the other edge is J", 
which is allowed for lapping in pasting. The small 
oblongs at the lower side are bent on the dotted lines 
before pasting. After pasting the sides paste one of 
the circular pieces inside the pail and one on the bot- 
tom outside. These were the circles, one of which is 
represented in Figure 145. Paste a strip on the 
inside for the handle. 



3j j^? 




Fiql44 



Fig 14-3 




«§> 




F,j 



/4-5 



F/a/46 





< 


^\^ , 




i 






^-"^1 / 


Fig/46 


^-^^ \ 



60 



ELEMENTARY INDUSTRIAL WORK. 



This problem may be varied, and executed as a 
tub, or as a watering-can by the addition of a spout. 

Figure 1 47 gives the construction for a hexagonal 
tray from a circular piece of paper or cardboard. 







Fig 149 



FiqlSZ 



Fiq »i"/ 



Ftq\50 




\ / 

\ / 



v . — 4: 1 1 



MISCELLANEOUS PAPER SLOYD. 61 

Fold on the dotted lines, cut on the solid ones, and 
then paste the flaps to the inside of the sides, which 
completes the tray. 

Figure 148 is the construction for a wall pocket, 
which should be enlarged at least six times in order 
that it may be of service. After cutting the paper, 
draw the lines for both cutting and folding before 
you attempt either. Paste the flaps on the inside 
of the pocket. 

Figure 149 may be used for either a cornucopia, 
or scissors case. 

For a cornucopia make it much larger; 6 ,f square 
is a good size. Points A and B are the centers of the 
sides. Fold on the dotted lines, and paste where 
they overlap. Punch a hole for hanging at C. 

The scissors case is made in the same way, except 
that the hole at C is omitted, and a line drawn from 
A to B, on which the corner is folded. 

Figure 1 50 is merely the construction for the box. 
It is given, because, frequently, there is a demand 
for seed boxes in connection with the work in school- 
gardening, etc. A handle may be added, converting 
it into a basket. 

Figure 151 is a simple picture frame. Fold on 
the dotted line and cut on the solid ones. The central 
oblong in the upper half will fall out, and the picture 
is mounted back of it. Fold up the lower oblong and 
paste the flaps. If it is not to be hung up, use the 
device in Figure 25 to make it stand up. 

Figure 152 is a pencil tray constructed just like 
a box. Use a piece of material 3 J" wide and 10" long, 
making the sides f " high. 



62 ELEMENTARY INDUSTRIAL WORK. 



y 




F,j IJ + 




MISCELLANEOUS PAPER SLOYD. 63 

Figure 153 is a working drawing for a triangular 
box with cover. It may be used for a gift, candy or 
trinket box. 

Dimensions are given with the construction, so 
no further explanation is necessary. This is a good 
model for the boy who always gets thru with his 
work in advance of his classmates. 

Figure 154 gives the construction for a letter 
rack. Use a piece of material 6"xl3". The lines on 
each side are J" apart. The distance from the lower 
edge to the dotted line is 4 J", and from there to the 
next dotted line J", which is the same as the space 
between the lines on the sides. 

Figures 155 and 156 give the parts for a whisk- 
broom holder. A good-size holder is made by cutting 
material twice the size of the figures. Figure 156 is 
cut and folded, and then pasted on Figure 155 with 
the flap on the back. The upper edge comes at AB, 
which causes the lower edge to fall on CD. AB and 
CD are pencil and not cut lines. 

Figure 159 is a sketch of a completed Dutch 
windmill. Figure 157 is cut, folded and pasted as 
indicated. The windows are to be turned back 
slightly, so as to assume an open position. One 
of them may be cut lower down and made slightly 
larger, so as to serve the purpose of a door. Figure 
1 57 has a light solid line showing how it was drawn. 
Use the heavy solid line for cutting. Attach by means 
of a pin. 

Figure 160 is a pocketbook to be constructed 
from leatherette lined with construction paper. The 
parts at the ends of the oblong A are folded in and then 



64 



ELEMENTARY INDUSTRIAL WORK. 



pasted to the oblong to the right, when A is folded over. 
Repeat the operation on oblong B. A good finished 



size is 



2i"x32". 






1 ' 


— ' 






I 



.glS-8 



fi $ iS9 



Figure 161 is a cardcase and constructed in a 
manner similar to Figure 160. A good size for this 
case is 3"x4J". 

Figure 162 is a billbook and pocketbook com- 
bined. A slit is cut in the outside, into which the end 
of the flap is put. 

Many other constructions from paper and card- 
board could be given, but, with those given in this 
and preceding chapters, one is afforded sufficient 
material for a working basis, and should be able to 
work out any problem on this order that is applicable 
to schoolroom use. 



MISCELLANEOUS PAPER SLOYD. 



65 



Election time suggests horns, band-wagons, pen- 
nants, arches, grand-stands, etc. 



Fjg \£Q 




Fici/6| 





1 




















1 \ 






/ 


A 






3 












-"- 











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V " " "7 



figi-62 



Vacation suggests canoes, sailboats, tents, trolleys, 
railway cars, parks, etc. 

Hiawatha suggests bows, arrows, quiver, tent, 
cradle, beads, belts, moccasins, etc. 

Transportation suggests carts, wagons, railway 
cars, ferryboats, freighters, etc.J 



66 ELEMENT ABY INDUSTRIAL 1Y0RK. 

V. 
CORD AND STRING WORK. 

A boy is always made happy when he becomes 
the proud possessor of a piece of cord or string. He 
puts it to many and various uses. There is some 
fascination about it which causes it to remain very 
dear to him. 

If the children have been happy to own cord and 
bits of string which they used in making various 
things without guidance or instruction, how much 
happier they are when these become part of their 
schoolwork. 

They should be taught the value of making 
things correctly and to see the advantage of knots 
properly tied over the ones that will not hold. The 
eye is trained along with the hand. It also teaches 
spacing and measurement. 

The children will also be interested in knowing 
that knots were used as a safeguard against intruders 
before locks and padlocks were invented. The ancients 
have used them as a language thru which to send 
messages, and Japan at the present time is said to 
have a code of etiquette practiced thru knots, thus 
conveying messages of congratulation and sympathy. 

The cheapness of the material is also favorable 
to its introduction. The children can bring cord and 
twine from their various homes if necessary. These 
may be used as they are brought, or, better, dye 
them, thus giving variety and doing away with the 



CORD AND STRING WORK. 67 

dingy, dirty appearance that has resulted from the 
uses to which the cords previously have been put. 

Of the commercial materials Macrame cord is 
probably the most desirable, since it can be had in 
so many shades and colors. Seine cord is more economi- 
cal, since it comes in the white and can be dyed readily. 
If doubtful about the size in ordering, have samples 
sent of the different sizes, and order from the samples. 
Cords numbered from 12 to 16 are of the correct size, 
with No. 4 used for binding. 

Some device for holding the end of the cord 
while the children are knotting or chain-stitching is 
necessary. A good one is made by fastening brass 
cup-hooks on the walls, and then the cords may be 
hooked over these while working. 

I. WATCHCHAINS. 

These problems are intended to teach knotting; 
and the chain-stitch, which is very similar to crocheting, 
except that the fingers are used instead of a hook, will 
be taken up first. 

The over-hand knot is very simple, and is illus- 
trated in Figure 163. Begin by making a circle with 
the cord and drawing the end thru. If a long string 
is being knotted, it is best to double the cord so as 
to find the center, and knot toward each end. This 
makes a shorter end to pass thru the loop, saving 
time and being less cumbersome. The knotted cord 
will resemble Figure 164. 

An over-hand knot using two cords is knotted in 
the same manner as Figure 163, where only one cord 
is used. Two colors are represented in the knotting 



68 



ELEMENTARY INDUSTRIAL WORK. 



executed in Figure 165. If only one color is used, a 
loop can be left at one end, affording ready means of 
attaching the chain to a watch or something else on 
which it is to be used. 




The beginning of the chain-stitch is shown in 
Figure 166. A circle is made at one end of the cord 
in the same manner as the one for the over-hand 
knot; but, instead of passing the end thru, the cord 
is doubled into a loop and the loop passed thru. This 



CORD AND STRING WORK. 



69 



loop is at A in the figure. To continue, loop the end, 
again passing it thru loop A, etc., as shown in Figure 
167. When the chain is long enough, it is made 
secure by passing the end thru the last loop and 
drawing it tight. 

Figure 168 shows a chain-stitch of two cords 
using two colors. First one string is pulled thru for 
the new loop, and then the other. It can be seen 
from Figure 168 that this forms a three-sided cord. 

2. GUARD FOR SCISSORS. 



Several yards of cord are used for this guard. 
Leave about 5" of the end when you begin chaining, 
and stop when you get to within 5" of the other end. 
This is to be double, and the 5" ends are fastened 
together as shown in Figure 169. 

A in the figure has a blanket-stitch on either 
side, covering the two cords, beginning where the 
chaining stops. This covering is shown in detail in 
Figure 170. If any difficulty is experienced with the 




70 ELEMENTARY INDUSTRIAL WORK. 

blanket-stitch, refer to the chapter on Burlap, where 
it is given in detail (Figure 1 80). Cover in this manner 
for J", then cut the ends to the desired length and shape 
as indicated at B, and sew together before covering 
with a single blanket-stitch as represented. The end 
is secured by drawing it under the stitches and cutting 
off closely. The scissors are then looped to this. 
It is assumed that this looping will be understood; 
if not, it can be learned from the making of the bag 
farther over in this chapter. 

This exercise may be elaborated upon by chaining 
reins such as the children use in playing with each 
other. 

3. SQUARE KNOT. 

Some knot that will not slip is necessary with 
cordwork. The square knot, also called the "hard 
knot," is in common use (Figure 171). 

An end of the cord is taken between the thumb 
and forefinger of each hand, and crossed and passed 
thru at A. Change ends of the cords, cross and pass 
thru as at B. Drawing the ends tight* the knot be- 
comes secure and will remain so. 

4. A PORTIERE. 

This is intended for a portiere to be used in fur- 
nishing the doll-house, but can be made large enough 
for use in the home if very heavy cord is used. 

The cords are placed over a pole or rod of some 
kind, as shown in Figure 172, to keep them even 
while weaving. The over-hand knot (Figure 163) 



CORD AND STRING WORK. 
O 



71 




F13U2 



is used for this. Begin by knotting across just as 
they are hanging on the rod. The second time across 
omit the first cord, and knot the second cord to the 
first cord of the second knot, and cross, knotting in 
that manner. On the third time across the same cords 
will be knotted that were knotted the first time across. 
When the portiere is long enough, cut the ends to 
an even length. These ends may be frayed out to 
form tassels, or two or three over-hand knots can be 
made in each cord of the knot. 



5. A SMALL BAG. 

The over-hand knot is again used in the bag, of 
which a part is shown in Figure 173.* Instead of a 
pole around which the cords are hung, use two cords, 



72 ELEMENTARY INDUSTRIAL WORK. 

so that they will form drawstrings. To do this, each 
is doubled in the center, and one is placed with the 
ends to the right, and the other with the ends to the 
left, and the ends knotted. That makes two cords, 
over which the cords for the sides are hung as shown 
in Figure 173. Proceed the same as in Figure 172, 
except that you knot all of the way around instead 
of just across. When the bag is of the desired depth 
the bottom is formed by knotting the cords from the 
opposite sides together. 

6. THE DOUBLE SAILOR'S KNOT. 

The double sailor's knot makes a more effective 
bag, but is more difficult until the construction is 
memorized. A careful study of Figures 174 and 175 
will teach you this knot in a few minutes. It is then 
used for a bag similar to the one in Figure 1 73, except 
that braids are made of No. 4 cord, to be used as 
drawstrings. 

7. WHIPS. 

Several styles of whips are possible. 

Take a piece of cord slightly longer than twice 
the length of both handle and lash. Finding the 
center, tie another cord of the same length around it 
at the place it is doubled, using the first step (A) in 
Figure 171, and then with these two ends double 
blanket-stitch around the cord, which has been doubled 
as first shown in Figure 1 70, until you have covered the 
foundation to a length long enough for the handle. 
Then tie two hard knots, using a foundation cord and 
one of the blanket-stitch cords for each knot. 



CORD AND STRING WORK. 



73 






The lash is then formed by cutting off the ends 
of the blanket-stitch cords close to the knot, and knot- 
ting the other two cords at intervals completes the whip. 

To make a stronger whip, use a heavy reed for 
the foundation (a twig or stick may be substituted for 
the reed). Cut niches at the end, to which three 
cords are secured by wrapping with fine cord. One of 
these cords must be quite long, with the long end 



74 ELEMENTARY INDUSTRIAL WORK. 

extending downward in the direction of the handle. 
After the fine cord has been secured begin blanket- 
stitching and covering the handle as shown in Figure 
176. The appearance of the corkscrew is obtained 
by slipping the position of the loop around each time, 
making a revolution for each fifteen loops. The cord 
is fastened to the end of the handle by driving in a 
tack or brad. Finish the lashes by knotting each of 
them at intervals. 

9. A HAMMOCK. 

Two embroidery rings 1" in diameter, six pieces 
of heavy cord 1 \ yards in length, and two pieces of 
fine cord are necessary. Loop the heavy cords in the 
center to one of the rings, using the loop shown in 
Figure 177. Two inches down from the ring begin 
knotting the same as was done the second time across 
in the portiere — i. e., omitting the first cord, and 
knotting by twos, leaving one on each side that is 
not knotted. Then knot across the second time, 
beginning with the outside cord, forming meshes 
f" in length. Judgment must be exercised in deter- 
mining how far towards the other end one shall knot. 
The other ring is attached by knotting the ends of 
the cord to it after the last knots have been tied. 
Use a slipknot for this. It is made by passing the end 
thru the ring and tying an over-hand knot over the 
cord with this end. It is now apparent that the second 
end of the hammock should be like the end first knotted, 
in that the last row of knots is to be 2" from the ring, 
and that the outside cords at the last row of knots are 
not knotted. 



CORD AND STRING WORK. 75 

The small cords are for binding the ends. Bind 
by placing one end thru the ring for about 1", and, 
holding this ring in the left hand, continue with the 
cord along on the hammock for 1", and then return 
to the ring, thus forming a loop 1" in length. Now 
begin wrapping or winding around the hammock and 
this loop as close to the ring as possible. After wrap- 
ping for J" slip the end of the cord thru the loop 
which projects beyond the wrapping. By pulling on 
the end that is hanging thru the ring the second end 
is drawn under the winding. Cut the ends off close 
to the binding and after repeating this on the other 
end the hammock is complete. 

Other problems will suggest themselves, and can 
be readily worked out. A practical example of this 
is the making of the small nets that are used on basket- 
ball goals. 



76 ELEMENTARY INDUSTRIAL WORK. 

VI. 

BURLAP WORK. 

Burlap is an inexpensive material and easily 
provided, being what is ordinarily termed "bagging" 
or "sacking." It is manufactured from jute, which 
is described in the chapter on weaving. Burlap takes 
dye or color readily. The dye does not run, so that it 
is possible to put on decorations after a piece of work 
is completed, tho that is not desirable in cross-stitch 
work; i. c, the decoration with dye in conjunction with 
the cross-stitching. 

This sewing is coarse enough to prevent the chil- 
dren from strain or injury to their eyes, and the 
stitches that are learned and practiced here will be 
a great aid later when the pupil takes up fine sewing. 
Raffia and jute cord are the most inexpensive materials 
for cross-stitch decoration and are quite satisfactory. 
Poseidon cotton and Germantown wool, since they are 
materials of a better quality, make the work look 
slightly more effective. 

Design and color are afforded most opportunities 
here. A pattern is suggested for each piece. But in 
class try to have each pupil get a different pattern. 
The mat-weaving is used to advantage in planning 
patterns for the decoration. 

1. A MAT. 

The first problem will be the making of a mat in 
which the natural burlap is used. This may be either 



BURLAP WORK. 



77 



square or oblong (Figure 179), with a fringe on each 
of the four sides. To form the fringe pull out several 
of the threads on each side. Then, if the piece is an 
oblong, place your design beside it, and pull out 
threads of the burlap and sew in colored jute threads 
to take the place of the ones that have been pulled 
out. In case of a square the same plan may be exe- 
cuted, which means colored threads are introduced 
parallel with each of the four sides. 





P.ql79 




r« iw 



2. A NAPKIN RING. 



Cross-ruled paper is used in designing the pattern 
for the napkin ring. If no cross-ruled paper is at 
hand, a valuable ruling practice is afforded by having 
each pupil rule his own. 

Cut a strip of burlap 1 j" wide and 9" in length. 
One end is cut to a point as shown in Figure 181, and 
the other end is left square. 



T8 ELEMENTARY INDUSTRIAL WORK. 

Something must first be done to prevent the edges 
from fraying out. Use a blanket-stitch (Figure 180), 
but do not sew in too far from the edge. Sew on all 
four edges of the strip. 

The edges having been made firm, lap the pointed 
end over square one for 3", and sew in place, using a 
simple cross-stitch (Figure 181) all the way around 
the napkin ring. The cross-stitching can be done 
before the ring is sewed together, and it is sometimes 
advisable to proceed in that way with very young 
children, as the manipulation is slightly easier, tho 
it takes longer, since the strip of burlap is longer 
than the circumference of the ring. 



3. A SHAVING-PAD. 

In designing the pattern, make it up on the 
order of a border on three sides. Cut a piece of burlap 
twice the length of the pad. The paper is cut slightly 
smaller than the burlap, so that the burlap will pro- 
ject over slightly at the sides and ends. The piece 
is doubled, so that it is just the size of the pad, and 
you have a double thickness of material. Blanket- 
stitch on three edges of this as shown in Figure 182. 
Sew thru both thicknesses, so that they become one. 

After the blanket-stitching has been executed, 
begin applying the decoration, sewing thru the two 
thicknesses with the cross-stitch thread. Four holes 
are punched at the top for fastening the cover to the 
sheets of paper by means of brass fasteners or cord. 
Cord is most appropriate. If the jute is not to your 



BURLAP WORK, 



79 



liking, untwist several strands and make a cord of 
several colors by twisting together strands of different 
colors of jute. 



-oo 


o o- 


Ert 


ft: 


- X 


X " 


- 


- 


- X 


.* ~ 


- o.j 


- 


- A 


x - 


- 


D - 


-ft 


10 = 


rX 


- X 


X- 




n n - 


V 


- 0*=*— *« 


J€ JC JCj - 


?:ijjii u 1 1 u 


i ii i i i H I ft 



m i 1 1 n 1 1 n 1 1 1 1 1 f 1 1 1 1 1 1 1 1 1 1 1 1 1 1 rm i n r n 1 1 n i a 

x * x - 

iL X Xz 

% X XX 

X ^ 



182 



F,g \&3 



= X KXXXXXKXXXX 

X X X X X XXXX5CX** 

X X 

X X 

X x 

* X 
X* 

x *xxxxx*,x*^% 

I/I.l I ILI.I II I.I.I I.I.I JJ.I 1 1. 1.U I I I.I 111,1 



X* 



sc X 



X 
JUU 



4. A HOLDER. 



The working drawing in this case will be 5" 
square. Cut a piece of burlap 15" long and 5" wide, 
since the holder is to be made up of three thicknesses 
of material. The pattern may first be stitched on a 
5" square at one end of the strip (Figure 183), then 
the piece folded evenly and blanket-stitched on four 
sides. 

The holder is now finished. If desired, a hanger 
may be attached at one corner. 



80 



ELEMENTARY INDUSTRIAL WORK. 




FiqlSJ" 



Lf 




Fig 186 



5. A NEEDLEBOOK. 



The needlebook makes a very attractive project, 
and especially so at a time when making gifts. (See 
Figure 187.) 

The pattern here again is made the size of the com- 
pleted case, 25/8 n x4|" being a good size. Cut a piece 
of burlap double the size of the pattern opening on 
either side of the end, as the drawing may call for. 

Work the decoration on the front cover. Blanket- 
stitch on the four sides of the burlap, then it is ready 
for folding. 

For leaves, cut two pieces of chamois slightly 
smaller than the burlap. These are sewed in or may 
be secured with a cord that shows on the outside of 
the book (Figure 187). 

6. A CARDCASE. 



The pattern for the cardcase is precisely the 
same as that for the needlebook (Figure 187). Cut 
a piece of burlap 4^"x5\ and two pieces 2J H x1J n . 
The finished size of the cardcase will be 2J"x4J". 



BURLAP WORK. 



81 




A , A 




n 9 18& 



r.c/87 



82 4 ELEMENTARY INDUSTRIAL WORK. 

The small pieces are to be used for the pockets. 
Cut one side of each of these as shown at A in Figure 1 88. 
Next sew the decoration on the cover. Then place the 
small pieces for pockets in position on the large piece 
as shown in the same figure, and pin so as to keep 
them in place while sewing. 

An over-casting stitch (Figure 186) may be used 
for sewing around the sides. 

7. A BAG FOR BOOKS. 

The piece of material for this is cut large enough 
to allow for seams at the ends and a hem on both 
sides at the top (Figure 189). 

Turn the parts for the hem, and secure in such a 
way that the threads will not show on the outside. 
The running-stitch (Figure 184) may be used. Then 
fold in the center lengthwise, with the inside out. 
Sew the ends together firmly using the back-stitch 
shown in Figure 185. Turning bag, add the decorations, 
and it is ready for handles. These may be made of 
strips of burlap folded with the sides overlapping each 
other. Sew them to the bag on the inside. Another 
method of sewing the ends is to leave the bag right 
side out, and use the over-casting or blanket-stitch. 

Handles may be braided of raffia and sewed on 
in the same manner as the burlap handles. 

8. A PINCUSHION. 

A pincushion may be made in two ways: 
Cut two squares of material, decorate one, and 
blanket-stitch on three sides, stitching the two parts 



BURLAP WORK. 83 

for the cushion together. The small bag, filled with 
wadding or some other filling, is now placed inside, 
and stitching on the fourth edge completes the pillow. 

Both sides can be cut in one piece. The decora- 
tion is next sewed on, and the piece accurately folded 
with the decoration to the inside. 

Two of the open sides are sewed, using the neces- 
sary stitching. The cover is then turned with the 
decoration to the outside, the pillow inserted, and the 
fourth side sewed in a manner to make it resemble 
the sewing on the other two sides. 

9. SOFA PILLOWS. 

It is not necessary to go into detail as to the making 
of the pillow itself. Excelsior makes a fairly-good 
filling. Tree moss is excellent and also inexpensive. 

The decoration differs from that of the other 
articles in this chapter. A cross-stitch pattern is not 
appropriate for a sofa pillow, since it would not en- 
dure the use to which a sofa pillow is put. So, in 
designing the decoration, something is to be planned 
which can be executed in color with a cord couched 
around the outer edges of the spots which make up 
the pattern. 

After the plan for the pattern has been designed 
cut a piece of paper just one-quarter the size of the 
pillow-top. On this draw one-quarter of the pattern 
and cut on the lines that have been drawn. This 
gives us a kind of stencil. Placing it on the pillow-top 
and in one corner, draw lines with a lead pencil that 
will show where the dye is to be used. After dyeing 



84 



ELEMENTARY INDUSTRIAL WORK. 




the couching is next in order. Referring to Figure 
190 you will readily see that these spots are so large 
that something is needed to bind them. A heavy 
cord is couched around the edges of the color. The 
couching is represented in Figure 191. 



WEAVING. 85 

VII. 

WEAVING. 

Both weaving and basketry are very primitive 
arts. Comparatively speaking, it has been only a 
few years /since weaving has been modernized. Steam 
and electricity are now used to aid in the process, and 
the old primitive looms have been replaced by modern 
ones. 

The most primitive loom consisted of two sticks 
between which the warp threads were strung, and 
then the woof passed over and under by means of 
the fingers. One of these sticks was fastened to a 
branch, or something that permitted the other stick 
to hang down without quite touching the ground. 
Some tribes are said to have secured the warp to a 
loom constructed by driving four sticks into the ground 
and then excavating so that the weaver could sit with 
feet and limbs under the threads while weaving. 

The first addition to the primitive loom was that 
of the shuttle, being nothing more than a stick to 
which the woof was fastened and passed across the 
warp threads. 

Next we find a loom made of four sticks tied 
together at the corners. This kept the warp drawn 
tight and made the weaving easier. Then came the 
heddle, which helps to raise and lower the warp 
thread in crossing, and also keeps the warp from 
drawing together, causing the rug to be narrower 
in the center than it is on the ends. 



86 ELEMENTARY INDUSTRIAL WORK. 

The terms "warp" and "woof" used in the pre- 
ceding paragraphs must be understood in order to 
learn how to weave. The warp threads are the 
threads that run lengthwise in the rug or fabrics. 
The woof is that which is woven back and forth 
crossing the warp threads. 

Slowly, and at long intervals, improvements 
have been made, until we have to-day the wonder- 
ful Jacquard loom, which carries few marks of the 
primitive ones just described. 

To-day, large hand looms are still in use in some 
of the foreign countries, and in many of the schools 
this lost art is being revived. We also find a great 
deal of this in the settlement work in many of the 
larger cities. 

No school need be without the small hand-loom 
work, since this can be carried on without cost in 
the way of equipment. 

This chapter affords far more material than will 
be needed by the teacher who is trying to teach 
the history of the textile or weaving industry, and 
it will give a better conception of it than volumes 
of printed material could possibly give. 

In addition to discipline and technique, this 
art gives practical training in color and design. 

Loom-weaving is preceded by paper-mat weav- 
ing, both single and double. And from this it is 
a perfectly natural step to the loom-weaving. 



WEAVING. 



87 



1. SINGLE-MAT WEAVING. 



We shall use 8" squares of paper for this. Bogus 
is the most desirable, being cheaper and also well 
adapted to the use of water-color and crayon. With 
very young children 
some other paper 
which is colored may 
be used for weavers. 
Bogus paper may be 
colored very readily 
by dipping in Easy 
dye. 

Two squares are 
needed for each mat, 
one of which is col- 
ored. 

Fold one of these 
in the center, which 
will give an oblong 
4"x8". With a ruler 
measure down 1 M from 
each corner, placing 
dots at A and B. The 
corners referred to are 
the ones on the edge 
that does not have the 
fold. Connect these 
dots with the line AB 
in Figure 192. On 
the line AB and on 
the folded edge meas- 













F, 9 


9Z 











































F,q 193 



88 ELEMENTARY INDUSTRIAL WORK. 

ure 1" from each end, and again make dots. This 
leaves a space of 6" between the dots. Divide this 
6" line by means of dots into £" spaces. Connect 
the corresponding dots in the two lines by means 
of pencil lines. Now take the scissors and cut on 
these lines, being careful to stop cutting just as you 
get to the line AB. Unfolding we have Figure 193, 
which is the square with incisions 6" long and a margin 
of 1" all the way around. The line AB in Figure 192 
does not show, since that side has been turned, so 
that it becomes the under side of the mat. The dotted 
line shows where the mat has been folded. 

Cut the second square into strips § n wide, to be 
used as weavers. One of these is shown in Figure 
194. Twelve will be needed for this mat. 

For the first mat, when using this text without 
an instructor, use Figure 207 for your model or work- 
ing drawing. Place the mat before you, and begin 
at the upper left-hand corner, and bring the end of 
the weaver thru up the first slit, passing it across 
and down thru the next, and so on until we have 
woven across to the other side of the mat. The 
second is started according to the pattern, beginning 
each time on the bottom side. Continue in this way 
until twelve are woven in. All of the ends being on 
the bottom side, they may now be pasted, thus keep- 
ing them in place, and the mat is finished. 

After this is thoroly understood it may be taken 
up with the class, having them work out their design 
before Cutting and weaving. 

Figures 195, 196 and 197 show the mats executed 
in 1" squares. 



WEAVING. 



89 




BH 



F.j. I9J- 












90 ELEMENTARY INDUSTRIAL WORK. 



■KG 



m 



I 








X 



X 







WEAVING. 91 

To make the mats mentioned in the preceding 
paragraph, or, to be specific, as in Figure 195, start 
it in the same way as Figure 192, and place dots 1" 
apart instead of J". This is desirable for kinder- 
garten work or at the beginning of mat-weaving 
with dull and backward children. 

Much could be said about the patterns in Figures 
195-218, inclusive. They are copies of mats that have 
been executed by children who had had no previous 
training in design, and have been inserted to en- 
courage the teacher who is not very confident of 
success in this line. The patterns afford a large 
source of suggestions for designing straight-line pat- 
terns. Some of them make good patterns for lin- 
oleums if used just as they are, Figure 214 being one 
that will repeat well. 

2. A WOVEN BOX. 

Just a little in advance of the mats is the weaving 
of baskets, boxes, trays, etc. For a box 3" square 
and 1 " high, cut a 6" square of paper and four colored 
strips J" wide and 13" long. Fold the square into 
sixteen squares. 

Have the children do this folding in concert. 
Especially in the beginning is this essential. If each 
one of them is permitted to fold his square individ- 
ually, many of them will fail in their first attempt. 

Let them first place the squares before them 
on the desk, and fold from the bottom up, creasing 
in the center. Next unfold, and again fold the lower 
half with the edge coming to the center, and then 
creasing. Unfold and turn the paper around, repeating 
this operation on the other half of the square. This 



92 



ELEMENTARY INDUSTRIAL WORK. 



leaves the paper folded in four oblongs. Unfold 
and turn half-way around, repeat the preceding 
folds, and the sixteen squares will be formed. 

In order to proceed with the box, cut out a square 
at each corner, which leaves Figure 219. 

The dotted lines show where the paper has been 
folded. Make dots £" apart on each side of the square 
in the center, which is made up of smaller squares. 
This large square will form the bottom of the bas- 
ket. Draw lines 
from each dot to the 
outer edge of the 
basket, keeping them 
parallel by holding 
the ruler in line with 
the dots on opposite 
sides of the square. 
After lines have been 
drawn on the four 
sides, cut to the large 
square forming the 
bottom. Begin weav- 
ing, and weave the 
four strips on one side, then turn up at the corner and 
weave across the next side in the same way. Continue 
in this manner until you have woven the fourth side, 
and then fasten by pushing the weavers in on the side 
first woven. The top is finished off by bending the 
spokes that are on the outside of the box over the 
last weaver, and pushing them down on the inside under 
the weaver preceding the one used in the last time 
around. The other spokes are cut off even with the 
top. A little paste may be used on the ones pushed 
down, making the basket more permanent. 



Fig^l9 



WEAVING. 



93 



Trays are made in the same manner. Baskets are 
made by the use of an oblong piece of paper and the 
addition of a handle. Square baskets may also be made. 

3. RIGHT AND LEFT WEAVING. 

This is desirable for all children, since it culti- 
vates ambidexterity (using both hands with equal 
skill and ease); and, as we advance in the handicrafts, 
we shall realize more and more how often it is con- 
venient for the left 
hand to take the lead 
at given intervals. 
Only a few problems 
will be given. 

Bookmarks afford 
quite a range of sub- 
ject-matter. For a 
small and simple book- 
mark take two strips 
of bogus paper f " wide 
and 4 1" long, and two 
colored strips 8" long. 

Fold each strip in the center lengthwise and crease. 

Referring to Figure 220, take No. 1 in the left 
hand with the open end projecting up, and place 
around it colored strip No. 2 with the open end to the 
left and about 1 " above the closed end of No. 1 . Open 
No. 3 and place it around No. 2. Then opening No. 
4, placing it around No. 3, the open end may be slipped 
between No. 1, thus making ready to draw all to- 
gether firmly. A little paste is added between the 
strips where they cross, the ends of the bogus paper 




94 ELEMENTARY INDUSTRIAL WORK. 

are cut off close to the colored strips, the ends cut as 
shown in Figure 221 , and the bookmark is ready for use. 

Figures 222 and 223 show a more elaborate book- 
mark, using two colored strips 12" long, and four 
bogus strips 8" long. The process is so similar to 
Figures 220 and 221 that no further explanation is 
necessary. 

Mats similar to Figure 224 may be woven like 
the bookmarks, except that more strips are used and 
all of the ends cut off. Figure 224 necessitates eight 
colored strips |" wide and 15" long, and six bogus 
strips of the same width and 1 8" long. 

Wall pockets demand a more difficult construc- 
tion, and afford good training. A good size may be 
had by cutting a piece of colored paper 2" wide and 
6" long, and a piece of bogus of the same size. Fold 
each of these in the center, and crease (Figure 225). 
Measure down 1" on each side from the open end, 
making dots at A and B. Connect with pencil line, 
and mark off on this spaces J" wide, as well as on 
the closed end. Using the central dot as a center, 
draw the semi-circumference as indicated. Next cut 
on the line made with the compass, and on the lines 
connecting the dots on the closed end, and the line AB. 

Now weave together, which gives the pocket in 
Figure 226. 

Pincushions and pillows may be constructed from 
ribbon, making use of the weaving in the foregoing 
exercises. 

Make a frame of the desired size by nailing four 
sticks together at the corners. Take one color of the 
ribbon and fasten to the loom, passing it back and 



WEAVING. 95 

.forth, and fastening it at the ends by means of thumb- 
tacks, pins or brads. Next take the other color of 
the ribbon, and weave back and forth on this, forming 
what resembles the mats that have been woven. 
Before removing from the frame it will be necessary 
to stitch on the four edges to keep it from coming apart. 
This gives the top half of the pillow. The other half 
may be woven in the same manner, or a piece of fabric 
used instead. 

4. HAND-LOOM WEAVING. 

With a good understanding of paper-mat weaving, 
the loom-work which follows will be understood quite 
readily. Cardboard looms, those made of cigar boxes, 
and pillow looms, will be treated. 

The terms "warp" and "woof" already defined at 
the beginning of this chapter will be used frequently. 

Materials used are chenille, carpet rags, jute, 
jute twine, filo strands, raffia and others. Raffia and 
jute twine are those that are in most common use. 

Jute is a vegetable fibre, being produced from the 
bark of a tall shrub which grows to the height of eight 
to fifteen feet. For our use we may call the plant 
"jute" (conchorus olitorius). This fibre produced in 
the bark is known as "bast fibre." It grows wild in 
India, and where cultivated it requires no work save 
thinning out where it has been too thickly seeded. It 
is also cultivated by the Chinese and Malays. Jute 
can be grown along the line of the Gulf States from 
Texas to South Carolina, but not in competition 
with India jute, which is only 1 \ to 2\ cents per pound. 



96 ELEMENTARY INDUSTRIAL WORK. 

The fibre of jute is one of our most useful textiles, 
tho quite inferior. Its lustre and cheapness, and the 
fact that it takes dye readily, cause it to be used for 
purposes of adulteration, tho it is not difficult to 
detect such frauds. It enters into all classes of tex- 
tiles as well as burlap, bags, ropes and all kinds of 
cordage. Where cheapness is an essential, it is most 
desirable. 

Rama will be described in the chapter on raffia. 
The other materials here mentioned are so common 
as to need no special comment. 

A rug on a cardboard loom is an easy stepping- 
stone from the mat-weaving. The mats have given 
some definite idea of decoration, so that the designing 
of this rug will be simple. In the way of decoration 
we shall use only two bands or stripes. The proper 
width and spacing of the bands are essential. In 
designing the pattern begin by cutting a piece of 
plain paper just the size of the finished rug, the width 
of which should be divisible by f", and draw the bands 
on this in lead pencil (Figure 227). 

After the design is made we are ready for the 
loom. Cut a piece of heavy strawboard, or, better, 
a piece of mounting-board 1" longer and f" wider 
than the rug is to be woven. Measure down j" from 
each end, make dots, and draw the lines AB and CD 
in Figure 228. On these lines place dots f" apart, 
and cut out niches as shown at the end that has line 
AB. The other end shows the loom before niches 
have been cut. 

The loom is now ready for warping (sometimes 
called "threading"). Use brown carpet warp, and, be- 



WEAVING. 



97 




F,g2 27 Fig 228 

ginning at one side of the loom, fasten the end of the 
warp by making a knot and slipping it in the first niche. 
Pass it along to the niche on the opposite end, and then 
passing it under the loom, indicated by the dotted 
line at the lower left-hand corner of Figure 228, come 
up in the second niche. Continue in this manner 
until the loom is threaded, and then fasten the ends. 
Choose two colors for woof that will work up 
well together. Begin by taking enough of the body 
color of the rug to weave up to the band. This, 
as has been explained in the woof, is woven over and 
under the warp threads until you have woven across 
the loom (Figure 229). Then draw thru all but 
1 § fl of the woof which is left on the side from which 



98 ELEMENTARY INDUSTRIAL WORK. 

you started. Take the end and weave it above the 
woof thread just woven across (the space between 
the woof thread and the opposite end of the loom), 
going over the warp thread that it first went under, 
and vice versa. Let the end remain under the warp 
threads which will be the bottom side of the rug. 
Continue by returning with the woof, weaving over 
one and under the next, etc., until you have woven 
as far as this color is to go, which can be determined 
by slipping your pattern under the warp threads. 
The end of the thread is fastened in the same way as 
it was fastened in the beginning. Now, when you 
start with another color, begin on the side opposite from 
the one on which you stopped. This is done in order 
that both sides of the rug will be even. As you weave 
back and forth keep the woof pushed up tightly. 
A stick used for this purpose is called a "batten." 
An ordinary ruler makes a good batten. While 
weaving do not draw the woof too tight, or the warp 
threads will pull in, causing the rug to be narrower 
in the center than it is on the ends. 

After enough of this second color has been woven, 
begin at the other end, and repeat what you have 
done at the first end; then the remaining space is 
woven in with the color first used. Another way of 
weaving is to begin at one end and continue across 
without stopping and changing to the other end. 

After you began weaving you probably learned 
that the fingers did not make a good shuttle (the 
shuttle is that on which the woof is wound and used 
to pass it back and forth, over and under the warp 
threads). It is hoped that you devised some form 



WEAVING. 



99 



of a shuttle. It may have been a piece of cardboard, 
with a hole cut in one end for holding the woof and 
then used as a needle. This is probably the simplest 
shuttle that can be devised. A weaving-needle, a 
stick notched at one end to which the woof is tied, 
or a piece of wire, may also be used. When giving 
this problem to the children let them discover for 
themselves that they need some kind of a shuttle, 
and then have them devise one, thus developing 
initiative. 




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F.q229 



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The rug is finished by taking it from the loom, 
fastening the ends of the warp thread, and slipping the 
woof towards the ends, filling the loops out evenly that 



100 ELEMENTARY INDUSTRIAL WORK. 

had been hooked around the projections at the end of 
the loom. The finished rug is shown in Figure 230. 

The fringes may be made by cutting pieces of 
jute twine about 1" long (Figure 231), and tying in 
the center with a light piece of cord; then doubling 
and wrapping just below where it was tied (Figure 
232). Cut the ends off evenly and fray out. The 
fringe is now ready to be attached to the loops of the 
warp. 

Another rug is given to illustrate the working of 
a /pattern on a hand loom. 

The designing of the pattern comes first. Cut a 
piece of blank paper the size of the rug, and rule 
lines 3/% n apart, both lengthwise and crosswise. This 
will give a piece of cross-ruled paper made up of 3/fa n 
squares. 

i The single weaving will be a great aid here in 
the design. Keep the children at the execution of 
simple centers in the beginning, and always use large 




Fig* 233 



234 ULA 



TVTYT\ 




rVYYTH 



L/UJUxJU 



WEAVING. 101 

spots in preference to a group of smaller ones, as 
they are difficult to execute and do not look well, as 
a rule, even when properly executed. After the form 
and size of the center have been decided upon (Figure 
233), have the pattern made in color, using the same 
two colors for each pattern, but interchanging them 
so as to see which arrangement of color is best. 

The center is woven as shown in Figure 234. 
Place the pattern under the warp in order that the 
center is properly located. Then the other part of 
the rug done in another color is woven. A weaving- 
needle or a large raffia needle is necessary, after the 
center has been woven, to use in passing the warp 
back and forth. 

As can be seen from Figure 234, after the center 
is woven you should start at the end and weave 
until it is filled up to the color, then fill out to the 
other end, and, lastly, fill in on both sides of the 
center. 

It is sometimes desirable to fasten a knitting- 
needle or a piece of stiff wire along with each outside 
warp thread to keep the sides from drawing in while 
weaving. After the rug is woven the needles are 
readily pulled out and do not injure the rug. 

A box loom is somewhat in advance of one that 
has been constructed of cardboard. 

This will also involve the heddle shown in Figure 
237, which is a device for raising and lowering the 
warp threads, making it possible to save much time 
in weaving. The shuttle already referred to is shown 
in Figure 238. The woof is wound around the shuttle, 
and then it is passed back and forth in weaving. 
The shuttle may also be used as a batten. 



102 ELEMENTARY INDUSTRIAL WORK. 



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£36 



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NOTE:- 

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cj5 a pattern 
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Design the pattern carefully so as to get good 
proportion, and do not have it too large to be woven 
on the box from which you are going to construct 
your loom. 

Remove the lid from the cigar box and cut away 
a part of the sides, as shown in Figure 236. Drive 
brads on either end at intervals of §". Having done 
this, we are ready for stringing the loom. Carpet 
warp is used as before. Fasten this to the first brad 
(A) in Figure 235, and pass thru the long opening 
in the heddle. It is then carried on around the first 
two brads on the other end of the box, and back 
thru the heddle, passing thru the small circular open- 
ing and on to the end of the box from which we started. 
It is then carried around the second and third brads, 
passed thru the heddle and continued in this order 
until the loom is warped. 

In the side view of the loom, A in Figure 236 
shows the heddle at rest, and ready for weaving. 
Begin weaving by raising the heddle as indicated at 
B. Both the heddle and the warp thread are shown 



WEAVING. 103 

by dotted lines in the position that they will assume. 
The warp threads passing thru the circular opening 
are the ones that are raised while the other warp 
threads remain at rest, the long slits or openings 
making it possible. Having the heddle raised, and 
understanding the position of the warp threads, the 
shuttle is passed between the two sets of threads 
thru the opening B'. Lowering the heddle to the 
position C crosses the threads, and the shuttle is 
passed back thru the opening C. This is continued, 
and we find the same result in a far shorter length of 
time than was the result with the cardboard loom. 

Raffia rugs or mats may be woven on either the 
cardboard or box loom. The raffia can be used with 
carpet warp or strands of it split, which make very 
serviceable warp. The woof should be kept flat in 
weaving; that is, the strands of raffia spread out. 
This permits of very pleasing effects if natural and 
colored raffia are combined. 

Fringes are added in -the same way as the one 
in Figures 231 and 232. 

Hammocks are woven in nearly the same manner 
as the rugs. 

The hammock is to bag when finished, so a loom 
with circular ends is needed. But, in designing it, 
it is not necessary to make the ends curve, provided 
we are going to use the compass for laying out the 
ends of our loom. If no compass is to be used, which 
is never preferable, cut an oblong the size of the ham- 
mock. Fold both lengthwise and crosswise. Draw 
a curve to represent one-half of an end, beginning 
at the open end and at the side that has the open 



104 ELEMENTARY INDUSTRIAL WORK. 



corners. Cutting on this line gives the proper shape to 
the loom. 





ig239 FtqZA-0 

After the design for the hammock has been made 
(this may have bands of color similar to that of the 
rugs), trace the form of the loom on a piece of card- 
board and cut out the loom. A line is drawn length- 
wise on the center of the loom, and the center of this 
line located. The hammock rings are now to be put 
in place. The heavy harness rings are not well adapted 
to this work; therefore, do not use them unless you 
cannot get the embroidery rings. |" or 1" is a good 
size. 

Prick two holes in this line drawn lengthwise on 
the loom, one f" above the center and the other I" 
below the center. Sew thru one of these and back 
thru the other. Then, slipping a ring over each end 
of this thread, tie the ends together, and the rings will 
be kept in place. (See Figure 239.) 



WEAVING. 105 

For warp we may again use carpet warp or any 
other suitable material at hand. Begin warping by 
securing an end to one of these rings, and then pass 
it over the niche to the outside on the left, going the 
length of the loom on the other side and coming 
back in the same niche on the opposite end, and pass- 
ing thru the second ring. Continue by passing from 
the second ring back to the end nearest it, and so on 
until the loom is warped. The end is now secured 
and we are ready for weaving. 

Begin weaving in the woof, but this time we are 
going to have a fringe on either side. As you pass 
across the first time leave about 1 " of the woof that is 
not drawn thru. Then, as you weave back, leave the 
same on the second side. This is not an end, but a 
loop, and will be cut later. Continue until you have 
filled this side that does not have the rings. 

If left in this way the hammock would not last 
long, so thread a needle with carpet warp and blanket- 
stitch the woof (Fig. 180) to the warp on the ends 
and sides, securing it in such a manner that it will not 
pull out. After sewing, the projecting ends of the 
woof are all cut off evenly, and may be frayed out 
easily by splitting with a pin. 

Use this same needle threaded with carpet warp 
to weave back and forth a few times close up to the 
rings, so that they will remain in position after the 
hammock has been taken from the loom. 

Pillow looms and the making of porch pillows 
are treated in the latter part of the chapter on raffia. 

A Bag made entirely of carpet warp will not 
be found out of place here. The design precedes the 



106 ELEMENTARY INDUSTRIAL WORK. 

making of the loom, but is not represented by a figure. 
It should not be larger than 2"x3" when finished, 
and several colors may be combined. The warp may 
be white or colored, and the woof of several colors 
worked by alternating or using bands to make the 
decoration. 



1, 






Fm^4-I 



FigZ'4-fc 



Cut a piece of cardboard |" longer than, but 
the same width as, the bag. Rule a line J" from the 
end, and stick pins half-way thru at intervals of 
3-16" on this line. The first and last pin should be 
but 3-32" from the end of the line, since we are going 
to weave around this loom, and that will make all of 
the spaces between the warp threads equal. 

Warp the loom by securing the end to one of the 
pins, pass it down around the end and up over the 
part of the same pin which projects thru on the back 
side of the loom. Take it on over the second pin on 
this back side, and continue in this manner until 
the loom has been warped. 

Figure 241 shows the loom warped and the woof 
started. It is woven around the loom, and, when you 



WEAVING. 107 

have woven to the loops at the top of the loom, put 
in two drawstrings, one to pull toward the right and 
the other toward the left. (In weaving you discovered 
that an odd number of warp threads were necessary.) 
A tassel (Figure 232) may be attached to the end of 
each of the drawstrings if it is so desired. The 
drawstrings may be put in a few rounds before the bag 
is finished, which makes the bag more attractive. 

Circular Weaving demands a circular loom (Figure 
242), which is warped ready for use. 

Cut a cardboard circle £" larger than the size of 
the desired rug, which allows for the making of niches 
J" deep on the circumference of the cardboard. Cut 
a hole in the center J" in diameter. Warp the loom by 
passing the thread thru this opening in the center 
and up on the outside, and continue until there is a 
warp thread in each of the niches. 

The loom has warp on both sides, but is to be 
woven on one side only. Begin weaving at the center, 
and weave around, weaving over and under as before. 
This demands an odd number of warp threads, the 
same as the bag. 

When the mat has been woven to the outside 
the end is secured. Cut the warp threads on the back 
side of the loom, half-way between the center and 
the circumference. The outside ends are now tied 
to prevent the woof from slipping, and form a fringe. 
The ones in the center are sewed or worked into 
the underside of the rug. 

Mufflers make an attractive problem in weaving 
and merit a better material than jute. They may 
be woven with or without stripes at either end. 



108 ELEMENTARY INDUSTRIAL WORK. 

Use a loom 1 9" in length. Cardboard is not strong 
enough for this, tho it can be used if necessary. It is 
usually possible to get a board of this length and of 
a suitable width. Dry-goods boxes provide excellent 
material. Drive nails at the ends on which to string 
the warp. In weaving draw the woof tighter in the 
central section, thus making it narrower, so that it 
will fit better at the neck. 



RAFFIA WORK. 109 

VIII. 

RAFFIA WORK. 

Raffia is the fibre of a palm, or, rather, the outer 
covering of the palm, and is imported from Madagas- 
car. It comes from the African palm, and is harvested 
before the leaves are fully developed. 

This fibre is gathered and cured by the natives, 
both men and women. It is made into large hanks 
or braids, and these in turn are made into bales weigh- 
ing 225 pounds. The bales are then exported. 

Raffia was first imported and used as ties by 
nurserymen. It has proven to be a most excellent 
thing for handwork. The natural raffia is quite 
artistic. If a variety is desired, it can be dyed. Some 
authors say it takes dye readily, but such is not the 
case, as it resists the dye more than any other material 
that we use; but, if the following hints are observed, 
anyone can dye raffia successfully. The chapter on 
design gives suggestions for vegetable dyes. 

Of the aniline dyes, Easy Dye is perhaps of 
the most satisfactory. To prepare the raffia for 
dyeing, unbraid the hanks and wrap them in wet 
cloths or newspapers, and leave overnight. If dyeing 
must be done at once, soak the hanks in water for an 
hour or two. 

The dye is dissolved in boiling water. Then 
place the raffia in this bath and let it boil for ten 
minutes. If several hanks are to be dyed in the same 
bath, a little more of the dye must be added for each 
bath, or the raffia will be of a lighter color. 



110 ELEMENTARY INDUSTRIAL WORK. 

Raffia has been used to supplement the work in 
the chapters on burlap-weaving, and basketry could 
not be elaborated on at all without it. Here it will 
be treated not as a means to an end, but as the end 
in itself so far as material for the handwork is con- 
cerned. 

1. WRAPPED-WORK. 

In wrapped- work it is necessary to have some- 
thing to use as the framework around which the 
raffia is wrapped. This is called the foundation. It 
usually consists of heavy strawboard or cardboard. 
The raffia must be kept well spread out while wrap- 
ping, so as to get the benefit of the full width of the 
stand. 

A napkin ring is the simplest of these (Figure 
244). Decide on the length and diameter of the ring. 
Then, finding the circumference, cut a foundation as 
wide as the ring is long, and whose length is this 
circumference plus | n for lapping. 

Execute by lapping the foundation £" and sewing 
to make secure (Figure 243). Begin wrapping, using 
the wide end of a strand of raffia. Cover this end and 
continue wrapping, being sure that no parts of the 
foundation show until another strand is needed. A 
new strand is started without knotting by simply 
wrapping over the end. Secure the last end by pushing 
it under the raffia on the inside of the ring. 

A circular frame is made by having the material 
for the foundation cut in squares. This affords an 
opportunity of teaching the term "diagonal." Have 
the children draw diagonals so as to locate the center. 



RAFFIA WORK. 



in 




^^4-4-, 



For a compass cut a narrow strip of cardboard (Figure 
246). Near one end (at A) push a pin thru the card- 
board. Then from this point measure a distance 
equal to the length of the radius for the inside circle 
or opening in the frame, and make a dot. Push a 
pencil thru this opening, and, with the pin at the 
point where the diagonals cross, draw the circle. 
Locating the dot for the radius of the outside circle, 
draw it in the same manner. 

Figure 245 shows the finished frame. This cir- 
cular piece of cardboard with the circular opening 
is now wrapped in the same manner as the napkin 
ring. A small loop is attached for hanging. 



112 ELEMENTARY INDUSTRIAL WORK. 

It is not well to give this exercise without first 
designing the frame so as to accommodate some 
picture. This does not mean that photographs are 
necessary or prints must be bought. Pictures cut 
from magazines will meet the requirements. After 
the frame has been completed paste the picture on 
the back of the frame, then cut a piece of paper 
slightly smaller than the frame itself, and paste it 
over the picture. In designing the frame the width 
of the frame should be considered in proportion to 
the area surrounding the picture. 




F. CJ £45 

Figures 247 and 248 illustrate how the circular 
frame may be varied. In Figure 248 is shown how 
natural and colored raffia may be combined; also, 
the blanket-stitch, illustrated in Figure 180, is used 
on the edge for decoration. In Figure 247 a braided 



RAFFIA WORK. 113 

strand of raffia is sewed around the edge of the frame 
and looped at the top. These frames may be made 
in ovals as well as circles. 

Figure 249 shows the method of wrapping a square 
frame. The miters are pierced and sewed thru in wrap- 
ping as indicated in the figure. Raffia needles are 
necessary for passing the raffia thru these piercings. 

Calendar mounts are made like Figure 250. An 
oblong foundation is used and diagonals drawn. The 
full length of the diagonals may be pierced lengthwise 
so that the miter runs from the corner to a line passing 
lengthwise thru the center of the frame. Or it may 
be executed similarly to that of the picture frame in 
Figure 249, and the calendar pad mounted on this. 
The latter plan is shown executed in Figure 250. The 
diagonals are drawn as before, but a smaller oblong 
is drawn on the card inside of the large one, and holes 
pierced on the four miters. It is then wrapped, 
sewing thru the piercings as indicated. 

Thermometer mounts are made like the calendar 
mounts. A piece of bristol board (other stiff paper 
may be used) is used to mount the thermometer on, 
and then the bristol board is secured to the raffia 
mount (Figure 251). 

The match-holder and scratch (Figure 252) re- 
quires a little more time, but is readily constructed. 
The mount or back is made the same as in Figures 
250 and 251. A piece shaped like Figure 253 is cut 
for the holder. Diagonals show that it is covered the 
same as tho it had been intended for a mount. It 
is fastened in place by sewing edges A and B to the 
back. A piece of cardboard is then cut, which fills 



114 ELEMENTARY INDUSTRIAL WORK. 

the opening, and sewed in place to form the bottom. 
It may be covered with raffia if desired. A piece of 
sandpaper is then glued on below the box to form 
the scratcher. 




F,aZ56 F.qZ5\3 



Circular boxes are made like Figure 256. Cut 
two circular pieces of foundation material the same 
diameter as that of the box. In the center cut a 
small circular opening. In wrapping pass the raffia 
thru this and to the outside, and on around and 
thru the central opening again, etc. (Figure 254). 
The oblong piece shown in Figure 255 is for the body 
or sides of the box. It is overlapped and sewed and 
wrapped like a napkin ring (Figure 243). One of the 
circles is sewed to one end of this cylinder, forming 
the bottom. The cover is then hinged by sewing 
with raffia in one place only. 



RAFFIA WORK. 115 

This may be varied by making the top and bottom 
larger than the diameter of the box itself, thus pro- 
jecting over the sides all of the way around. 

Making the opening in the center larger, gives us 
a hair-receiver. 

Decoration in cross-stitch may be added; also 
mass decoration by sewing with colored raffia can 
be executed. 

Square and oblong boxes can be constructed by 
making the parts in the same manner as the mounts for 
Figures 250-252, and then sewing them together 
to form the boxes. 



2. BRAIDED WORK. 

In making a braid always start with the large 
ends of the strands of raffia. Several strands of 
raffia are used for each strand of the braid. Just 
as soon as the braid becomes thin, add more raffia, 
inserting a few strands at a time. Do not mind the 
ragged appearance that these projecting ends present 
when starting additional strands, since they may be 
cut off close to the braid after the braid is finished. 
In sewing the braids together use a fine strand of 
raffia that has been provided by splitting a larger 
strand. 

Mats. — It is not necessary to braid more than 
several feet before beginning to make the mat (Figure 
257). The braid is laid on edge and sewed. Be sure 
to get it round in the beginning, so that the mat will 
not be flat on one side when finished. When you 
have sewed to where you left off braiding, more 



116 ELEMENTARY INDUSTRIAL WORK. 



raffia is added to the braid. After the mat is of the 
desired size a border is sewed on as indicated in the 
figure with the raffia placed flat and not on edge. 




ficj ^ 6 1 

If an elliptical mat is desired, the beginning 
should be straight for, say, an inch, then doubled 
and continued in the same manner as a circular mat. 

Another form is shown in Figure 258. The braid 
is placed flat and the edges sewed together. The 
border is made in the last time around the mat and 
is a part of it. 



RAFFIA WORK. 117 

Bags are illustrated by Figure 259. Two cir- 
cular mats are made and sewed together, leaving 
an opening at the top. Braids for carrying or hanging 
are added last. 

Trays and baskets are started like the mat in 
Figure 258. After the bottom is large enough turn 
the braid to conform to the form of the sides, and 
continue sewing. A drawing should be made and 
followed as in Figure 301 under basketry. A tray 
is shown in Figure 260. These make attractive 
trays and serviceable baskets if not made too large. 
Small jewel-cases can be made by lining the basket 
and making a cover for it, which is hinged by sewing 
in one place with some raffia. 

Hats. — Doll-hats afford a great deal of pleasure 
and develop initiative. A representative one is shown 
in Figure 261. The beginning is the same as that 
of a basket if a flat top is desired. Then the sides 
of the crown are the same as the sides on a basket. 
The brim is started after the crown has been woven 
tall enough, and the hat is readily completed. 

If the top is to be other than flat, it is easily 
accomplished by drawing the braid quite tight in 
sewing, which will cause the top to bulge upward. 

Rugs and mats are treated in the chapter on 
weaving. 



3. KNOTTED WORK. 

Shopping-bags knotted from raffia are very attract- 
ive. The first bag is made using the over-hand knot. 



118 ELEMENTARY INDUSTRIAL WORK. 

To begin the bag use a cord or strand of raffia, knotted 
at the ends, around which to hang all of the strands 
of raffia. Each strand then gives two ends. For this 
we use eighteen strands of natural raffia. Begin 
knotting by making an over-hand knot just below 
the foundation on which these eighteen strands 
have been hung. Figure 263 shows how the over- 
hand knot is made, tho nearly everyone is familiar 
with it. The second time around take one strand 
from each knot. Figure 262 illustrates this. Con- 
tinue and alternate. The longer the space left be- 
tween the knots the larger the meshes become, and 
consequently a wider bag is the result. The bottom 
is made by knotting the ends of opposite sides to- 
gether and cutting evenly and fraying out. 

Two braids are then made to be inserted around 
the top and used as drawstrings. After inserting 
them with two ends on each side, tie the ends to- 
gether and add a tassel. (See Figure 232.) Bags 
are sometimes made with only one drawstring, but 
these do not carry well, and look as tho they were 
heavily loaded on one side. 

Another bag quite similar to the preceding one, 
except that it involves a more difficult knot, will 
now be considered. Use eighteen natural and eighteen 
colored strands of raffia. A stirrup is used as in 
the preceding bags. The strands of raffia are placed 
two in a group — one natural and one colored — where 
we had only one strand in the other bag. This gives 
four ends. One natural and one colored end are held 
together, and the other two tied around it. This 
knot is now executed by working first as shown in 



RAFFIA WORK. 



119 



Figure 264 A, and then Figure 264 B, lastly drawing 
the ends quite tight. 




r<9 2 6 4B 



Proceed by knotting once around in this manner. 
The second time around use two of the four strands 
with two of the strands from the adjoining knot, and 
continue until the bag is of the desired depth. The 
bottom is closed by knotting together the strands 
of the opposite sides. The bag may be lined with 
suitable material, something that will harmonize 
with the color of the raffia in the bag. 



120 ELEMENTARY INDUSTRIAL WORK. 

4. PORCH PILLOWS. 

Porch pillows may be made of raffia, long grasses 
or straw. 




Fig Z.CS 



Fiq ^66 




Fiq267 



RAFFIA WORK. 121 

The making of the loom and a pillow of raffia will 
be discussed here. 

The construction of the loom is the first con- 
sideration. The one in Figure 265 is one of the possible 
constructions, and is quite satisfactory. Take two 
pieces of wood f"x2"x21J", two pieces f"x2"x23", 
four pieces f"x2"x5", and two pieces j n x1"x24J" long. 
The figure shows how it is put together. Nail the 
23" pieces to the 21 J" pieces, making a square frame. 
Next cut a notch at one corner of each of the 5" pieces, 
f'xl", into which the | n xl" pieces are to be nailed. 
Nail the 5" pieces after notching to the square frame 
on the sides that have the 23" pieces. The two re- 
maining pieces are now nailed in the notches, and 
the loom is complete, the last two pieces being the 
ones to which the warp is secured. 

A needle (Figure 266) made from a piece of wood 
J"xl"x24" is also needed. Cut an eye in one end by 
boring two holes J" in diameter and j" apart. Cut a 
tangent on each side, joining the two holes and forming 
the eye. Both colored and natural raffia, or natural 
alone, may be used in weaving the pillow. In the 
pillow shown started in Figure 267 twenty-six warp 
threads are strung, and an equal number of woof 
threads are to be used. 

By warp and woof threads here are meant bunches 
of raffia made up of from eight to twelve strands, 
depending upon the size of the raffia. 

To string the loom, begin by taking the large 
end of the strand and tie. Take it across to the other 
bar and tie the small end. The second one is first tied 
with the large end beside the place where the small 



122 ELEMENTARY INDUSTRIAL WORK. 

end of the first one was tied, and in that way the 
large and small ends alternate. After the three 
natural ones come three colored, then fourteen natural, 
three colored, and, lastly, . three natural ones. After 
the warp is strung, thread a raffia needle and blanket- 
stitch across each end, so as to secure them and keep 
them in place. 

Begin weaving in the woof by threading the needle 
with a bunch of raffia equal in size to that of the warp. 
After the woof is woven in, stitch across the ends the 
same as on the warp. 

This will make the top of the pillow. Weave 
one of just the same size from the natural raffia for 
the back. Sew three edges together and fill with 
excelsior, moss or other suitable filling, and then 
sew the fourth side. The ends are then cut evenly, 
and the pillow is complete. 



SIMPLE BOOKBINDING. 123 

IX. 

SIMPLE BOOKBINDING. 

As is suggested by the little of this chapter, we 
shall not go very deeply into the art-craft of book- 
binding. 

Without equipment other than a punch and 
scissors we cannot go thru even the simple processes 
involved from the "forwarding" to the "finishing" 
of a simple book, but must be content with the making 
of desk-pads, folios, loose-leaf covers, covers with 
simple hinge fastenings, etc. Let the simple be- 
ginning that we make in this craft be practical. Nature- 
study, language and other subjects will demand books 
that can readily be constructed by the children. 
Become familiar with the way of the practical crafts- 
man by examining pieces of finished work, being 
careful to notice the detail; and, any time you are in 
doubt about something not given in this chapter, 
proceed by returning to your bound book. When 
doing the more complicated work it is often desirable 
to take a book to pieces in order to understand the 
construction thoroly. Desk-pads are taken up first, 
since they readily pave the way to the making of 
simple portfolios. 

The pupil should be familiarized with the end 
papers and the fly-leaves at the front and back of 
the book. His attention should also be called to the 
arrangement of the pages with reference to spacing, 
margin, etc. Books having covers of good design 



124 ELEMENTARY INDUSTRIAL WORE. 

should be shown and note made of the fact that the 
lettering is rarely in an oblique line, but nearly always 
carried straight across the cover. 

I. DESK-PADS. 

The materials needed are a piece of strawboard, 
a piece of cover-paper slightly larger than twice that 
of the strawboard, some book-cloth, paste and a 
blotter. 



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The first step in the process is the making of a 
working drawing (Figure 267) and designing the decora- 
tion for the corners. Figure 267 is the finished pad and 
makes a good proportion. A good size for a small pad 
is 9"xl2". 



SIMPLE BOOKBINDING. 



125 



After the drawing has been made, cut the piece 
of strawboard just the size of the pad. This is called 
the "foundation." 



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Then cut a piece of cover-paper 1" longer and 1" 
wider than the foundation which is to form the top 
cover. Place the foundation on the cover-paper, and 
mark around it in lead pencil. Removing it, cut off 
the corners of the cover-paper as shown in Figure 
268. This will make them fit as a miter on the corners 
when folded over. Grease the paper on the pencil 
lines and then insert the strawboard. Paste (a formula 
is given in the chapter on Miscellaneous Paper Sloyd) 
by applying the paste to the narrow parts that fold 
over (Figure 269). It requires considerable skill to cover 
the foundation with paste. If that is insisted upon, 
the best result is usually obtained by first brushing 
over the surface lightly with water so as to have it 
moist before applying the paste. If this is not done, 
the part on which the paste is first applied will be 
dried up before the entire surface is coated. 



126 ELEMENTARY INDUSTRIAL WORK. 



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One of the corners should now be drawn full 
size. These are to be made of book-cloth or some 
paper that is quite strong and will not tear easily, 
since most of the wear and tear comes on the corners. 
Figure 270 shows the method of cutting the four 
corners advantageously from one strip of material. 
Cut a pattern for the decoration, and trace it on each 
of the four corners before pasting them. The corners 
should then have paste applied to the flaps, and, 
placing the corners with the part that has the decora- 
tion on it on the side that has already been covered, 
pasted. The top side is shown in Figure 271. The 
corner must not be drawn down too tightly or the 



SIMPLE BOOKBINDING. 127 

blotter cannot be inserted under it. Figure 272 shows 
the back or under side of the pad after the addition 
of the corner. 

The next step is the cutting of a cover for the 
back of the pad. Cut a piece of cover paper j" shorter 
and narrower than the pad itself. This is pasted by 
applying paste around the edge only. After placing 
it in position, the back of the pad will look like Figure 
273, the space being left, since the back cover is made 
smaller, making a neater piece of work. 

A blotter is inserted to complete the pad. It 
should be cut f" shorter and f" narrower than the 
pad itself. 



2. PORTFOLIOS. 

Portfolios may be made as started in Figure 274, 
the corners being pasted down tight on the bottom 
side or omitted entirely. The two pieces of foundation 
board placed on the cover paper are to be joined by 
means of a hinge. 

Figure 275 shows the outside covers pasted to 
the foundation board. A strip of book-cloth or very 
strong paper is cut to form the hinge. It must be twice 
the length of the finished book. Paste on the outside 
first, and then bring the ends over to the inside, so that 
they will meet in the center. The hinge in Figure 
275 has been pasted on the back, and one end on the 
inside coming to the center. 

The tapes are added (Figure 275) by taking a 
sharp knife and cutting thru both foundation board 
and cover. Push the end of the tape thru from the 



128 ELEMENTARY INDUSTRIAL WORK. 



outside to the inside of the folio, and paste the short 
end to the foundation. After the addition of the 
inside cover the tapes are firm and will not slip or 
pull out. 

Paste the other end of the hinge and add the 
inside covers, and we have Figure 276. This completes 
the portfolio. 

The outside of the folio is shown in Figure 277. 

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SIMPLE BOOKBINDING. 
3. A SIMPLE BOOKLET. 



129 



Booklets are always in demand and can be made 
in various forms and sizes. 



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Both the cover and the sheet, making two leaves, 
are represented in Figure 278 with holes pierced for tying 
together. The solid oblong with a dotted 'line across 
the center is the cover. The dotted oblong shows the 
position that the leaves will assume. The cover when 
closed, with the leaves inside, is represented in Figure 
279. The dotted and solid lines at the hinge show a 
good method of securing the leaves to (the cover. 
Three holes are pierced as shown in Figure 278. i With 
a needle pass the thread thru the upper hole|from 
the outside. Then pass down on the inside and out 
thru the bottom hole. Then pass both ends in at the 



130 ELEMENTARY INDUSTRIAL WORK. 

central hole and tie around the cord, cutting the ends 
off close to the knot. A simple execution for the 
cover design is done in outline and in black. Consult 
the chapter on design for additional suggestions in 
designing the covers. 



4. ANOTHER BOOK. 

Figure 280 shows the two foundation boards 
placed on one large piece of book-cloth which forms 

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SIMPLE BOOKBINDING. 



131 



both outside covers and hinge. It is pasted to the 
foundation in the same manner as in the previous 
exercises. 

The inside covers may be made of one piece; 
but, as a rule, the leaves are pasted in first, and then 
the inside cover, thus covering each side of the leaves 
where they are hinged. Method of working up leaves 
may be obtained from Section 6 of this chapter. 

A cover design that may be given to a class 
having in it the possibility of a number of different 
solutions is found in Figure 281. It may be done in 
solid or outline. 

5. LOOSE-LEAF BOOKS. 

Loose-leaf books are desirable both as notebooks 
and books for mounting pictures, also for schoolwork. 
They are easily constructed, and additional pages 
may be added at will. 




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132 ELEMENTARY INDUSTRIAL WORK. 

Two foundation pieces (Figure 282) are needed 
for each cover — a narrow one for piercing and hinging, 
and the wider one for the cover proper. 

Book-cloth is best for the outside cover, but 
paper may be used if necessary. The foundation 
pieces are in position on the cover in Figure 283. 
Notice that the left-hand end projects farther than 
does the right-hand end. This is done so that it will 
fold far enough over on the inside in order to paste 
to the large foundation piece, Figure 284 making a 
stronger hinge than if it were folded like the other 
edges, and the inside-cover paper forming the hinge 
on this side. Paste in the inside cover, and, making 
another piece like the one just completed, the holes 
may be punched, eyelets inserted and the cover 
design transferred. 

Figure 285 shows the cover design and the holes 
punched. The dotted lines represent the space form- 
ing the hinge. Be sure there is a space, and do not have 
the foundation pieces touching each other. At least 
y& }} should be left. 

If no eyelet punch is to be had, punch the holes 
and, placing the eyelets in them, clinch by means of 
a round-head screw. Take a round-head screw f" 
long and gauge No. 7 or 8, and file the point blunt so 
that it can be struck with the hammer. Place the 
cover with the eyelet so that the eyelet will rest on a 
solid block of wood or a piece of iron, and, placing 
the head of the screw on the eyelet, strike the screw 
which clinches the eyelet. Then finish up smoothly 
by striking the eyelet lightly with the hammer. 



SIMPLE BOOKBINDING. 



133 



6. ART-BOOKS. 

Several plans for the contents of the art-books 
are possible. A certain number of pictures may be 
chosen to be studied in each grade; say one for each 
month. Then some of the important statements 
concerning the pictures could be written on the same 
or following pages. This demands a book to which 
leaves can be added when needed. The loose-leaf 
covers also meet this requirement. 

The Perry pictures are recommended, since they 
are so inexpensive. 

Even tho no appropriation is available for pur- 
chasing pictures, the teacher will find it worth while 
purchasing them the first month. After that the 
children will gladly provide one cent each per month 
in order to get a new picture if the first one has been 
made interesting. 





Fig286 

The (Covers for the art-books are made the same 
as the preceding covers, except that the inside covers 
are'jnot added until the following has been inserted. 



134 ELEMENTARY INDUSTRIAL WORK. 

To make these stubs to which the pages are^'to 
be pasted, book-cloth or some strong cloth of light 
weight is needed. 

Cut a piece like Figure 286. The space between 
the dotted lines' is for sewing in the folded strips that 
have been prepared by cutting strips 1" wide and of 
the same length as Figure 286, and folded in the 
center. Take as many strips as you wish leaves in 
the book, and sew in place between the dotted lines. 
After sewing they will look like Figure 287. 




A sheet of construction paper is then pasted 
between each of the folded strips forming the leaves 
(Figure 288), and they are ready to be inserted in the 
covers. Paste the strips on either side of the leaves 
to the foundation pieces in the covers. Next cut a 
piece of cover paper twice the size of the inside cover. 
Paste one for the cover and the other becomes the 
flyleaf of the book. 



BASKETRY. 135 

X. 
BASKETRY. 

Basketry is a very desirable form of industrial 
work. It is of such a nature that it offers considerable 
resistance to the worker, thus developing a great 
deal of dexterity where any large amount of basketry 
is done. Children in grades lower than the third or 
fourth should be given only the simplest kinds of 
basketry. Often it is not advisable to begin even 
that early. 

Materials used are reed, both round and flat, 
raffia, and such natural materials as willows, corn 
husks, grasses, pine needles, straw, etc. 

Reed is split from the inner portion of rattan and 
dressed to cylindrical form in various sizes, numbering 
from 1 up. Those most adaptable for work in basketry 
are Nos. 1 to 6. Flat reed is obtained in the same 
manner. 

Raffia has been described in the chapter on raffia. 

Natural materials must be gathered by the 
person who is to use them. Experience, tho a costly 
teacher, is the one that must be relied upon most in 
gathering them. In gathering the corn husks use 
only the inner and softer ones. Pine needles may be 
used either green or dry. Of the straws, the ones 
with the long spaces between the nodes (joints) are 
best for braiding. Some grasses are gathered at one 
season and some at another. Cutting at the wrong 
time causes them to become brittle with age. The 



136 ELEMENTARY INDUSTRIAL WORK. 

proper time for cutting willows is given under the 
heading "Willow Baskets." 

Tools. — Only a few simple tools are necessary. 
One can get along admirably with a sharp knife and 
a ruler. If some tool is needed to make an opening for 
the ends of spokes, one can be made by shaving a 
stick of hard wood to a long point. Heavy shears are 
useful when cutting up large quantities of material 
for class use. Pliers can also be used at times, but are 
not absolutely necessary. 

If no utensil is at hand for soaking raffia, get a 
lard-can, which is just the size and depth needed, and 
can be bought cheaply. 

1. REED MATS. 

As an introduction to the successful making of 
reed baskets, the making of reed mats is a most de- 
sirable one. In fact, the mastery of this insures 
success in the making of baskets; but, without this, 
the result will not be satisfactory, since we must 
have a good start before we can consider the subject 
of form. 

Materials needed for the first mat are: Four 
spokes of No. 3 reed 1 2" long, one spoke of No. 3 reed 
7" long, and two weavers of No. 2 reed. 

The reed should be placed in cold water and 
permitted to soak for at least an hour before using. 
If hot water is used, only half the length of time is 
necessary. Proceed by arranging the 12" spokes in 
pairs and crossing them in the center. Place the 



BASKETRY. 



137 



short spoke between any two of the long ones, and 
hold all in place with the left hand. Now take one 
of the weavers and begin weaving by placing the end 
of it parallel and against one of the spokes, with the 
end slightly to the right of where the spokes cross. 
Pass it on around the spokes that it crosses, and as it 
comes up cross the other set of spokes and down 
again, passing below the spokes you first went around. 
A in Figure 289 is the weaver, and the other reeds repre- 
sented are the spokes. 





.230 



Now, as you come up and over the next set, you 
have made one circuit. Follow the same path once 
or twice around, and then, beginning with the spokes 
at the end of the circuit, separate the spokes, and con- 
tinue by passing the weaver over one, under one, etc., 
dividing the spokes evenly as soon as possible. A in 
Figure 290 is the same as A in Figure 289. Great care 
should be exercised in pressing the weaver down, 
between each spoke, close to the previous row of weav- 
ing. This alone is not sufficient, it should also be 
held in position with the forefinger of the left hand 



138 ELEMENTARY INDUSTRIAL WORK. 

while passing to each succeeding spoke. The impor- 
tance of this is never fully realized until the student 
begins work on his mat or basket. This applies to all 
reed work. 

In starting a new weaver place the end on the end 
of the old weaver behind a spoke, and continue in 
the same path that the old weaver would have taken. 
Later, when the project is completed, the ends will be 
cut evenly, leaving no obstruction. Your judgement 
will of course tell you that this splicing must take 
place on the inside. (The outside of the mat or bas- 
ket is the side next to the worker.) 

When the mat is about 4" in diameter, the end of 
the weaver is passed under the last row of weaving 
and behind the next spoke, or it may be bound off by 
passing the weaver under the last row of weaving, 
under the next spoke, over the next, and under the last 
row of weaving again. Continue in this manner once 
around the mat. The mat is now ready for the border. 

The simplest open border (Figure 291) is made by 
cutting the spokes to an even length and shaving 
them to a point, soaking the mat and then bending 
spoke No. 1 , and pushing it down beside spoke No. 2, 
and continuing in this way until all of the spokes are 
pushed down. Figure 292 might have been used on 
this mat. Referring to the figure you will see the 
similarity between . this and the other border. The 
spokes should be pushed down to a depth of at least 
1" into the mat. 

Figure 293 shows the first step in the detail of the 
heavy border which may be used on mats, and is spe- 
cially desirable for baskets whose tops are exposed to 
hard usage. 



BASKETRY. 



139 




To execute the border started in Figure 293 
arrange the spokes just as they are shown, then pro- 
ceed by taking the end of the first spoke which is al- 
ready bent around the second, carry it forward in 
front of the third and fourth, back of the fifth, and 
push it down on the right-hand side of this, the fifth 
spoke, and bend, and then push down the fourth 
spoke. This makes two bent spokes between the fifth 
and sixth, a short one and a long one (Figure 294). 
Continue in this way and you will find that you will 
also have two between all succeeding spokes. The 
long one, of course, is to be used again, and the short 
one remains where it is, and is cut off after the border 
is completed. 

A second reed mat is executed, since, frequently, 
there is a demand for basketry low down in the grades 



140 ELEMENTARY INDUSTRIAL WORK. 

where the children are too young to work in accord- 
ance with the preceding reed mat. Splitting the 
spokes and threading them for the base, and then 
beginning to weave with raffia, is an easier and less 
technical beginning, but does not give as serviceable 
a basket. We shall also use more spokes in this 
mat, and it will' be seen that the result is a closer 
border, which is stronger and more durable. 

Materials used are six spokes of No. 3 reed 12" 
long; one spoke of No. 3 reed 7" long, one weaver of 
No. 1 reed, and one or two strands of raffia. 

Cut one end of three of the long spokes and of 
the short one to a short flat point. Next take a knife 
and make a slit in the center of the other three. (See 
Figure 295.) 

Next take the three pointed spokes and slip them 
thru this opening until half projects on either side. 
After one has been slipped thru, it is an easy matter 
to slip in the other two, one on either side. The 
short one can then be slipped in between two of the 
longer ones, leaving the blunt end to project but 
slightly beyond the ones that are slitted, as shown in 
Figure 296. 

Begin weaving by taking the large end of a strand 
of raffia (raffia should never be soaked in water to make 
it pliable in order to manipulate more easily), and 
start just as we did with the reed weaver in Figure 
289. In this case we begin weaving over and under 
after the first time around. If you have followed 
instructions you are now weaving from left to right, 
pulling the weaver down close to the center and hold- 
ing it each time with the left forefinger to prevent 




Fig 294- 



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slipping. Donot overdo this part, however, by having 
your weaver so tight that the bottom will not remain 
flat. 

The spokes must be evenly separated by the time 
three or four rows have been woven in order that the 
spokes come out straight from the center, otherwise 
the work will not be symmetrical. 

After one or two of the strands of raffia have been 
used, insert a weaver of No. 1 reed behind a spoke, 



142 ELEMENTARY INDUSTRIAL WORK. 

and continue the weaving, keeping the raffia with 
the reed weaver until you come to the end of the 
raffia (Figure 297). The end of the reed weaver 
must be held, to prevent its slipping, until one row 
has been woven, when it will bind and remain in place 
without holding. A full-length weaver will make 
this mat large enough. When the mat is finished, 
the weaver is fastened in the same manner as the one 
in the preceding mat. If this is the second mat that 
has been made, it is well to use the heavy border in 
order to have more than one with which you are 
iamiliar. 

2. HOW TO UTILIZE MATS. 

It is sometimes necessary to make several mats 
in order to acquire enough technique to proceed with 
the baskets. So, in order to stimulate the child to 
repeat the problem, the second one that he makes 
should not be simply a mat, but rather one in 
disguise. 

Pincushion. — The making of a small mat with 
rather a large border affords excellent material for 
a pincushion. (Figure 298.) 

Cut a circular piece of cardboard, abqut 2" in diam- 
eter. Place some wadding or other filling on this, 
and fasten to the cardboard by taking a few stitches. 
Cover with a circle of suitable material of double the 
diameter of the cardboard circle. To cover, gather 
the edge rather coarsely with thread, place on this the 
cardboard with padding turned downward, and draw 
up tightly, and secure the ends of the thread. Then 
sew the pincushion on the center of the mat. 



BASKETRY. 



143 



Figure 298 is intended to be used flat on the 
table, but could be made more attractive to smaller 
children by weaving a ribbon around the open border 
decorating with two or three bows. Then suspend 
the cushion by means of two ribbons with a bow at 
the top. 




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299 



Letter-Rack- — Two or more mats are used for 
this project. Figure 299 is almost self-explanatory. 
For the back take a board 3 g" thick, about 8" wide 
and 12" long (depending on the size of the mats). 
It can be shaped at the top by means of a jack-knife. 



144 ELEMENTARY INDUSTRIAL WORK. 

Place the mats on the back, and with a pencil locate 
the points for fastening. If no drill is at hand for 
making the small holes, a nail may be driven thru and 
pulled out again. If a board cannot be used, cover 
a piece of cardboard, or the cardboard can be used 
without covering, providing it is of a desirable color 
and shade. 

Doll-Table — The spokes in the mat for the doll- 
table should be cut much longer than would ordinarily 
be used in making a mat the diameter of which 
is the same as the one in Figure 300; 2 J" is an 
appropriate diameter. Weave the top just the same 
as you do for any other mat, using raffia weavers 
and making an open border. But in pushing back 
the spokes, which are quite long in this case, let them 
go as far as the center of the mat, and then draw 
them out to form the support for the table. Now 
take these weavers and bind them with raffia, cover- 
ing them so that the reed will not show. When 
within about f " of the distance from the top of the 
table to the floor, divide them into three even groups 
and wrap separately, forming the feet of the support 
as shown in Figure 300. 

This is a doll-table, and must not be confused 
with a full-sized table in criticizing the proportions 
of Figures 298, 299 and 300. 

Other articles of doll furniture can be worked 
out on the same plan, the chair being one of the sim- 
pler ones. 

A large number of projects could be worked out 
here in case there should be a need for them, the whisk- 
broom holder being one of the popular ones; but, 
since this is not merely a text on basketry, we must 



BASKETRY. 145 

resist the temptation of treating mats farther. The 
author feels justified in having treated this some- 
what at length, since, as has been stated, successful 
basketry depends on a good beginning at the center 
of the basket. 

3. REED BASKETS. 

The construction of any project should always 
be preceded by a working drawing whenever possi- 
ble. For a reed basket an outline drawing, showing 
the shape, diameter and height, is all that is neces- 
sary. (See Figure 301.) 

For the first attempt the diameter should not 
be more than 3". In making the drawing you must 
consider that you have a front view, or the real height 
of the basket, and not a perspective view, which in- 
cludes not only the height, but a part of the diam- 
eter. For the length of the long spokes add 8" to 
the length actually needed for the bottom and sides 
of the basket, in order that there will be 4" of each spoke 
for the border of the basket. The short spoke should 
be a little more than half the length of the others. 
This, after binding at the center, will give you sev- 
enteen spokes radiating from the center. As a rule, 
it is not advisable to use fewer spokes than sixteen. 
In case the basket is too small for so large a number 
of spokes, they can be used in pairs. 

The basket is started just like either of the mats. 
As soon as you think you have woven to the diam- 
eter of your basket, stop and measure it. In meas- 
uring do not use a ruler, but fold your working 
drawing on the base line as indicated by the dotted 



146 ELEMENTARY INDUSTRIAL WORK. 











V J 











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F»g30 2 

line in Figure 301, giving Figure 302. Now you can 
use the drawing for measuring the diameter. 

If you find that the base is large enough, place 
it in water again to make the spokes quite pliable. 
Now bend them so that they appear to conform to 
the shape of your drawing. Resume the weaving, 
drawing the weaver just tight enough to keep the 
spokes in position. After you have gone around 



BASKETRY. 



147 



several times, hold your drawing back of the basket, 
and by sighting you judge accurately as to whether 
or not you are weaving in accordance with the drawing 
Should you find the drawing quite wrong in shape, 
it might be necessary to take off part of the weaver 
and weave it again, making it more or less tight as 
may be found necessary. 

After weaving to the desired height, fasten the 
end of the weaver the same as in the mat. For this 
basket a simple open border is preferable (Figure 29 1 ). 




Plate No. 5. 



148 ELEMENTARY INDUSTRIAL WORK. 




BASKETRY. 149 

Nearly all reed baskets are woven in about the 
same manner, so that it is not necessary to describe 
the process of making additional ones. 

A variety of designs is desirable. For that 
reason Figures 303 to 307 were prepared. This was 
done in preference to inserting expensive halftones 
that show beautiful objects completed, but without 
sufficient detail to learn the construction. 

Figure 303 illustrates double-weaving. It is 
the same as single-weaving (Figure 290) except that 
two weavers are used as one. 

Figure 304 illustrates two weavers, one following 
the other. This produces the same effect as single 
weavers, but requires an even number of spokes. 

Figure 305 illustrates pairing. Two weavers 
are started, one behind each succeeding spoke, and 
crossed between them, bringing forward the under 
weaver each time. This weave can be used for a 
border, and makes an attractive band for reed 
basket. Either an even or an odd number of spokes 
may be used. Figure 306 illustrates the triple twist. 
Three weavers are started, one behind each succeeding 
spoke, beginning to weave by taking the one started 
first and bringing it forward over the two other weavers 
and behind the third spoke; next, take the second 
spoke, bringing it forward over two, etc. 

This makes a better border or top than does 
Figure 305, since it is closer and covers the spoke. 
The triple twist may also be used over broken spokes 
in order to keep them from showing. 



150 ELEMENTARY INDUSTRIAL WORK. 

Figure 307 illustrates another open border or 
top which makes an attractive finish. 

Figure 309 shows a method of making a handle 
to be used on hanging-baskets and the like, to be 
fastened to the outside of the basket with some very 
fine reed. 

Figure 308 shows the beginning of a large basket 
of sixteen long spokes, or thirty-two, radiating 
from the center. After separating into groups of 
four, mark their centers, and then place the 
first group on the desk or table, the second group 
on this, and at right angles to them, with the other 
two groups diagonally across these. Start a weaver, 
one soaked until quite pliable, by placing the end on 
top of the group of spokes to the left of the one that 
was placed on the table first, passing under the group 
which was placed there first, over the next, and so on 
until you have not one weave, but three or four. Now 
continue by dividing the spokes into groups of two. 
The weaver must decide now upon the kind of weave 
he will use for finishing. If it is to be a rather large 
basket, he can continue for several weaves, and then 
separate the spokes, using them singly. Then it be- 
comes necessary to use either double, paired or some 
other weaving that uses an even number of spokes, or 
one spoke may be cut, thus leaving an odd number. 
The method of some Indians when using an even 
number of spokes is to pass the weaver under two 
spokes or two groups of spokes in order to start a 
new row. 



BASKETRY. 151 

4. WILLOW BASKETS. 

Some schools, especially those in the rural dis- 
tricts, are unable to carry on basketry, because of a 
lack of funds with which to purchase the reed. In 
many localities, however, the common willow grows 
profusely and may be used to advantage. To some 
pupils it appeals more than does the reedwork, since 
the fact that you have gathered the material yourself 
adds charm to the work. 

Willows should be cut after they have stopped 
growing in the autumn; in the spring, just before the 
sap comes, is a good time. Choose only the choice 
sprouts that have no branches and have rather a 
uniform thickness. 

They may be used for coiled baskets, described 
farther on in this chapter, without removing the bark. 
But if they are not to be covered it is best to peel them 
by boiling until the bark can readily be slipped off 
by crushing. Never scrape them, as this destroys the 
smooth polished surface. To simplify peeling, split a 
large willow that has not been boiled, slip the larger 
end of the willows into the opening, holding the peeler 
and drawing the steamed willow thru, which removes 
the bark quite readily. 

When weaving be sure that they are pliable, and 
manipulate in the same manner as the reed. 

Ash splints are also used to advantage. 

5. COILED BASKETS. 

Coiled baskets, to be successful, require a bottom 
accurately made. If no reed baskets have been made, 



152 ELEMENTARY INDUSTRIAL WORK. 

it is well to make one or two mats before starting on 
baskets. Two kinds of coiled baskets will be con- 
sidered — soft-coiled and hard-coiled. A soft-coiled 
basket is one in which the foundtaion consists of raffia, 
grasses, corn-husks, or some other soft material, and 
which is wrapped or covered with raffia. A hard-coiled 
basket is one whose foundation material is reed or 
willow. 

Soft-coiled baskets will be made first. 

A definite idea of such a basket as we are about to 
undertake may be had from Plate 5. These are hard- 
coiled baskets. The soft-coiled ones appear nearly the 
same at a distance, except that they are just a trifle 
clumsy, being due to the fact that a thicker coil is 
necessary. The first one will be a plain basket with- 
out any design. After making a working drawing for 
a basket of , say, 4" in diameter and of a proportionate 
height, we are ready for material. 

Begin with just a few strands of the foundation 
material. If raffia is used, take several strands so that 
the beginning of the coil may be small, making it pli- 
able and lending itself to a circular shape. Thread a 
raffia needle with a strand of raffia, and wrap as in 
Figure 310, covering it so that no parts of it show 
thru. Now begin coiling it (Figure 311), and sewing 
to keep it in position. Add to your foundation until it 
makes a coil at least J" in diameter after wrapping, 
and continue to add a few strands at a time as you 
wrap, in order that the coil remains of a uniform size. 
Coil until the bottom is of the required diameter, 
tessting as we did with Figure 302 in the reed basket. 



BASKETRY. 



153 





3/0 



P.q3| I 



Begin shaping the sides by raising the coil up slightly on 
the one below and sewing in place. Continue in this 
way, causing the sides to conform to the drawing as 
we did in the reed basket. If the basket is smaller at 
the top, the coil is set in just a little toward 
the center as you sew. Just before we have it to the 
required height make the coil gradually thinner until 
it comes to a point, as we had it in the beginning of 
the basket. Fasten the end of the raffia securely and 
cut off close to the coil. If necessary, take a very 
small thread of raffia which has been split from a 
larger strand, and fasten the ends more securely. 

Using colored raffia for sewing adds variety to the 
basket just described. Two designs may be executed 
and different stitches used in the soft-coiled baskets 
similar to. the ones undertaken in the hard-coiled 
baskets. 

6. HARD-COILED BASKETS. 



This process is similar to the soft-coiled process. 
Several different stitches will be described. 



154 ELEMENTARY INDUSTRIAL WORK. 

No. 4 reed is most desirable for ordinary-size 
baskets, but No. 3 and No. 5 are quite satisfactory. 

The reed should be soaked until quite pliable. 
After winding all into a small circle with the exception 
of a few inches, tie the coil in several places in order 
that it may set in a circular form and work better. 

Begin back 3" from the end of the reed, and cut 
to a long flat point as shown in Figure 312, A and B. 
A shows the top view of the reed, and B the side view 
after it has been cut. If this reed has been properly 
pointed, it is possible to begin wrapping without 
leaving an opening in the center of the bottom. Thread 
the needle, and wrap, beginning at the end of the reed 
(Figure 313). Wrap for 1J", and then roll or coil what 
has been wrapped into the smallest possible coil. 



( 










r 


F.g3l2 A 


— r*"" 








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1 






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BASKETRY. 155 

Begin stitching, and bind securely before coiling 
farther (Figure 3 1 4). Since the natural raffia in the 
needle is of the same color as that used for wrapping 
in the beginning, it is possible to stitch the immediate 
center with whatever stitch seems to be convenient. 

After the bottom is started, some stitch must be 
decided upon and continued thruout the bottom; 
then, if it is desirable, another stitch may be used for 
the sides, finishing off the top by cutting to a long 
flat point before covering. 






Ficj3\SA 



F,cj 3ISB 

Either of the methods, A or B in Figure 315, may 
be used in splicing. It is necessary to shave the reeds 
for joining before coming to the place of splicing, being 
careful that they fit, and make a joint of the same size 
as the reed itself. The two reeds should be held carefully 
together as you work over the splicing. Sometimes it 
may be necessary to wrap the splice with a fine piece 
of 'raffia, and also sew thru it a few times to keep it 
from pulling apart. 

Threads are spliced by covering the end of the one 
just used up and wrapping securely with the new 
thread. Cut the ends off afterwards if any remain. 

Several stitches that are desirable for school use 
and the amateur craftsman will now be described and 
illustrated: 



156 



ELEMENTARY INDUSTRIAL WORK. 



The lazy-squaw stitch (Figure 316) is a very 
simple stitch and easily executed. A solid foundation 
is best on which to use this stitch, as the coil is wound 
but once between the stitches. The threads used in 
sewing should be of an even size, which adds to the 
beauty of the basket. 




Flq3l6 



V\o±2>n 



The hand-stitch (Figure 317) can be used on both 
soft-coiled and hard-coiled baskets with equal success. 

The student will be able to work out new stitches 
for himself if he has mastered the ones given here. 
Those wishing to go deeper into the subject of basketry 
should learn the Navaho and the Porno stitches. 

Designs are treated under a separate heading, 
since they are applicable to both hard-coiled and soft- 
coiled baskets. 

Some authors advise the application of a design 
after the basket is completed. This is a rather crude 
method. A basket neatly made without a design is 
preferable. Easy Dyes on tilo strands come nearest 
being successful along this line. 

Colored raffia used in the weaving to work out the 



BASKETRY. 



157 



design adds to the beauty of the basket. Coloring of 
raffia is described in the chapter on raffia. 

The design should be worked out in full-size units 
in terms of the circumference of the basket. A full- 
size front view, with the units in a straight line, is 
represented in Figure 318. Two spaces between the 
parallel lines drawn horizontally represent the diameter 
of the foundation after wrapping. 




Weave the same as a basket without design until 
you come to the row for the first of the colored raffia 
(1 in Figure 318). Add the color, fastening it the same 
as you would a new strand of raffia, and carry the 
natural one along with the reed until you come to the 
limit of 1, which is the same as the beginning of 2; 
now use the natural strand, carrying the colored one 
along with the reed until the limit of 2 is reached and 
the colored raffia used again. Continue in this way 
until you have gone once around the basket. Here 
it can be seen what was meant by working out the full- 
sized unit in terms of the circumference, since, other- 
wise, it would be a mere accident if we came out evenly. 



158 



ELEMENTARY INDUSTRIAL WORK 



Begin again with the colored raffia, directly above the 
place where you started the first time, but weave only 
to the beginning of 3, using the natural for 3. Con- 
tinue in this way until the design is finished; then add 
two rows of natural, and the basket is completed. 

For the first basket, using a design, it is advisable to 
use only a border in order to learn just how to proceed. 

Pen sketches of several baskets are now given in 
order to give the student a working basis for more 
baskets. Naturally, the various Indian baskets influ- 
ence us very largely in both design and weaving. 
Figures 319 to 324 are the sketches. 




3ZI 



3Z + 



BASKETRY. 



159 



7. BASKETS OF NATURAL MATERIAL. 



Pine-needles make excellent pintrays and small 
baskets. Small baskets with covers may be made to 
be used as jewel-cases. 

Rye, wheat and oat straw, as well as the different 
grasses and rushes that are available, may be used, 
not merely for the small baskets, but for larger work. 

Corn-husks can be used the same as the founda- 
tion work, but are used to better advantage if braided 
and then sewed together. 

Figure 325 shows the start of a pine-needle, 
straw or grass basket, using a thread or strand of 
raffia for binding. Figure 326 is another section of the 
same basket. 




In working, the grass should be held in the left 
hand, with the first finger free to keep the thread from 



160 ELEMENTARY INDUSTRIAL WORK. 

slipping back and causing the work to become loose 
and flimsy (Figure 327). Stitch thru the coil each 
time, and under the stitch in the last coil. Place the 
thread at the proper angle each time before drawing 
tight, so that the spirals will be regular. It is not 
advisable to have them very close together, hov/ever. 
If necessary, new ones may be added by starting one 
in the center of each space. 

The foregoing applies to an open basket ; r. e., one 
where the inside is the right side. A closed basket is 
one in which the sides incline toward the center at the 
top. When the bottom is of the desired size, turn the 
basket the opposite way, which also reverses the angle 
of the stitch and makes the opposite of the basket the 
right side 7 . Figure 328 is a pine-needle basket in which 
the inside is the right side. This is called an " open 
basket," since the sides at the top flare away from the 
center instead of toward it. 

What has been said here about baskets of natural 
material does not conflict with using them for coiled 
baskets with soft foundation, for in that case the foun- 
dation is wrapped and covered, but it is exposed in 
these baskets. 

8. FLAT REED BASKETS. 

Flat reed may be used for either square or oblong 
trays. 

For an oblong tray, 3"x5", take eleven strips of 
reed J" wide and 5 J" long. Shave both ends of each 
strip to a thin point, beginning back |" from the end. 
Cover each one of these strips with raffia, leaving 



BASKETRY. 



161 



uncovered J n at each end. Then sew to this the 
remaining ten strips, using the knot stitch (Figure 
317). This will form the bottom of the tray shown 
started in Figure 330. 




fiq329 




Fjcj33 

After the bottom is finished, cut two strips of reed 
exactly the length of the width of the bottom. Now 
moisten the J" projections at either end until pliable, 
then bend until they form a right angle with the bot- 
tom, and fasten the strips on the inside of the tray by 
sewing with a very fine strand of split raffia as shown 
in Figure 330. For the sides cut three strips of reed 
J" longer than the distance around the basket, so as to 
permit splicing. Soak these in order that they may 
not break while bending at the corners, or in sewing 
while splicing. To splice shave both ends, so that, 
when placed together, they will be of the same thick- 



162 ELEMENTARY INDUSTRIAL WORK. 

ness as that of the reed, and sew together by taking 
a few stitches with a finely-split strand of raffia. Take 
one of these, and, holding it in position, sew to the 
bottom, using the same stitch. Pass on the outside 
of the strips turned up at the ends, and sew over both, 
completely covering the ends of the eleven strips used 
in the bottom. Add the other two, being careful that 
the spliced places are not directly over each other, and 
the tray is complete. 

Baskets may be made in the same way by cutting 
each succeeding strip for the sides a trifle longer, 
causing the basket to flare at the top. 

Figure 329 is a tray slightly larger than the one 
just described, and has a double reed at the top. 



DESIGN. 163 

XI. 
DESIGN. 

"The Greek worship or seeking was essentially 
of Rightness and Strength founded on Forethought. 
The principal character of Greek thought is- not 
Beauty, but Design." — Ruskin. 

The subject of design and color for manual train- 
ing is such an inexhaustible one that we can deal with 
it only in a general way, but too much stress cannot 
be laid upon the art side of the handicraft work as it 
is taught in most of our schools. 

While teaching the child to use his hands in re- 
sponse to his creative mind, we should not forget that 
it is just as easy to instill correct ideas of form, design 
and color as to allow a careless disregard of the things 
that mean beauty. 

If the teacher has no idea of the great underlying 
principles of art, how can he expect to succeed in giving 
proper instruction in manual training? Art and 
manual training should almost be synonymous terms. 

The teacher meets his first problem in the selection 
of material. For paper-work he must think not only 
of the use that is to be made of it, but of the colors 
that harmonize and are in contrast in dark and light 
of the same or different colors, as dark and light green, 
dark and light gray, or tan and brown, blue and orange, 
etc. When the child makes his selections, give hints 
enough to prevent discordant notes, and he will be 



164 ELEMENTARY INDUSTRIAL WORK. 

acquiring good taste in an unconscious way. In buy- 
ing cord, consider the color also, and when raffia is 
purchased it is better to get it natural, and then dye 
it, than to purchase the ugly colors that one so often 
gets. Easy dyes are very satisfactory to use; and, 
by knowing a little about mixing colors, fine results 
may be obtained. For instance, the dark red is crude; 
but, by mixing green with it, one gets a soft old-rose 
color; and a little orange mixed with the blue gives a 
beautiful soft tone. 

Burlap, which can be obtained from sacks or the 
wrapping of furniture, can be dyed in the bath follow- 
ing the raffia, as it absorbs all of the color that is left. 

Teachers in the country who have no appropria- 
tion allowed for materials can use from nature's gen- 
erous supply. If one needs yellow dye, let him use 
golden rod (the whole plant) or onion skins; sumach 
berries give a pink dye, and, when boiled with the 
leaves, plant and berries, tan is obtained; pokeberries 
and grapes give purple; hickory, walnut bark and 
shucks give brown; and the logwood gives black. If 
anyone needs red, buy a little cochineal, and indigo 
for blue. Get green by mixing the blues and yellows. 

If in the fall the wideawake teacher collects ma- 
terials and dries them two or three weeks in a dark 
room, he is ready for work, and needs only a little 
practice, good-will and the help of the larger pupils. 
He can have a full supply of cat-tails, flags, rushes, 
marsh-grass, seaweed, corn-husks, willows, oak-twigs, 
ash-splints, wild wistaria, palm-leaves, pine-needles, 
bamboo, and worlds of other things, to be used in 
basket-weaving, hat-making (from palmetto), etc. 



DESIGN. 165 

The wise teacher can go to nature again for his 
ideas for applied design, but that is by far the most 
difficult phase of manual training, because the average 
teacher does not know the subject himself, and per- 
mits the pupils to make designs too hard or realistic 
and seldom suitable for the article to be decorated. 

Let one remember that it is much better to have 
no design at all than to have a bad one, and, altho a 
child loves to decorate, he should be properly directed 
or made to avoid it. Right here let us say that the 
teacher must have abundant material to show the 
pupils as each new subject is introduced, not to be 
used as copies, but to be offered as suggestions for 
original work or for variations. Every child should 
have his problem stated clearly, examples shown, and 
certain restrictions put upon him before he is allowed 
to begin. If one has no way of obtaining inspiration 
thru contact with the work of the great artists or get- 
ting illustrations from an art library, let him own sets 
of good art-books that deal with design and are full 
of excellent examples. In designing any object you 
must consider the following: 

Purpose of the object to be made. 

What form is best suited to its usefulness. 

What material is used to the best advantage. 

Is decoration necessary? If so, what kind? 

In the teaching of design it is best to begin with 
the simplest problems of line arrangement, as are 
used on the ends of rugs (Figures 331 and 332), in- 
cised designs on pottery (Figure 333), border designs for 
baskets and for lamp-shades (Figure 357), etc. It can 
be carried into the more complicated problems, as the 



166 ELEMENTARY INDUSTRIAL WORK. 



interlaced patterns — the belt (Figure 344) and the 
book-cover (Figure 362), both suitable for leather- 
work, and the needle-book (Figure 346). 



Ficj«5 3 J I 



33Z 





323 



334 





3SS 



33L 



DESIGN. 



167 







*0 

m 








\m 



After a few designs have been put on the black- 
board let the child work out some on paper; then select 
his best, which he must perfect before he thinks of 
working it out in his basketry or whatever he is maki ng. 



168 ELEMENTARY INDUSTRIAL WORK. 

Spotting or massing is a step beyond line com- 
position, and it brings in a very important principle, 
that of balancing dark and light in tones of gray, or 
color. It is illustrated in the drawings under weaving. 
The designs for tooled-leather bags (Nos. 341 and 342), 
cardcase (No. 343), interlace (No. 345) coin-purse (No. 
347) for a little child, the stenciling (Figures 358, 359 
and 360), as well as the borders (Figures 337-340), 
that were designed by pupils, etc. 

If one wants plant and animal forms for design, 
let him use them in a decorative or abstract way, and 
not in a purely naturalistic manner, for, while morning 
glories are lovely on the vine, they are not suitable 
for decorative purposes when drawn and colored just 
as they grow. We have had pupils make a drawing 
of a cat, and, by making it into a straight-line unit, a 
good border was made. (Figure 340 was made by a 
third-grade child.) The borders above it were de- 
rived from insects, the lamp-shade (No. 356) was 
taken from the violet, the block-prints, corners and 
rosettes (Figures 348-355) were taken from insects and 
flowers, the bags have berries as motifs, and the needle- 
book has the water-lily. The use of the square paper 
is often good, because it keeps the pupil away from dan- 
gerous curves, and if he applies himself properly he 
gets results that surprise everyone. Especially is this 
true in the planning of block-prints for printing that 
will now be discussed more fully. 



DESIGN. 



169 




3 45 




346 




347 



170 ELEMENTARY INDUSTRIAL WORK. 





34 9 



(8) 



F. 5 6346 



3 SO 




2>S7 



DESIGN. 171 

1. BLOCK-PRINTING. 

Block-printing is a very old art, used principally 
by the peoples of India, Japan and other countries, 
and within the last few years very extensively by Amer- 
icans. The process is a very simple one, and helps very 
much in the study of design and color harmony. Have 
the child plan his design on paper, using flowers, ani- 
mals, landscapes, insects or geometric spots as motifs 
(Figures 348-350). Corners (Figures 351-353) and the 
rosette (Figure 354) can be used on the block. Let 
him put the design on thin paper, and with impression 
paper transfer it to a cork, spool, or on a well-planed 
block of wood (preferably pear or cherry, as the grain 
is finer, altho bass and other wood will do). With 
a sharp knife cut on the lines of the design, and gouge 
out the background. The block is now ready for use. 

In the lower grades the printing is done on paper 
with printer's ink. An easier way is to put pads of 
cheesecloth on a slate over which the ink has been 
poured. The block is pressed into this inked pad and 
then printed on the paper, care being taken to make 
light pencil marks where the block ends, so as to 
register for the next one. 

Water-color is often used after glue or mucilage 
has been added to prevent its running. Neverthe- 
less, we prefer the dye, not only because it is the best 
on paper, but because it also can be satisfactorily used 
for bags, pillows, book-covers and articles that do not 
need washing, and after a hot iron is passed over the 
finished product it holds the color well. However, if 
one is to block-print curtains or table-covers that are 
to be washed, oil-paints diluted with turpentine or 
gasoline are best. 



172 ELEMENTARY INDUSTRIAL WORK. 

Wallpaper borders for the walls, linoleum, matting, 
screens, etc., for the doll-house, boxes, posters, Christ- 
mas and Easter cards (often printed by the little 
children from blocks made by the older ones), are put 
on the paper with blocks either pressed on the ink or 
with color put on the blocks, using a brush. That is a 
good way for anyone, for, while it is proper to make a 
separate block for each color used, it is far easier to 
put the different colors on the same block so as not to 
risk poor registering. 

Block-printing as well as stenciling is not only 
applied to paper, but to linen, silk, burlap and all 
kinds of cotton goods. 

2. STENCILING. 

This is another art taken principally from the 
Japanese, who have always been so proficient that it 
has been said that they cannot be excelled. Some of 
their ancient patterns are so delicate and wonderfully 
wrought that they resemble a spider's web, and, in 
fact, some have their finest lines made of the hair of 
the artists who produced them. 

Like the block-printing, it has boomed of late, 
and is not only used on fabrics of all kinds, but also in 
interior decoration. A design must be made so that 
the parts can be separated and the background con- 
nected. See that there is a center of interest and not 
a number of . uninteresting, discordant spots. Figure 
358 can be used as either a surface pattern or as a 
border if used in two rows. No. 359 is a border taken 
from the acorn and oak-leaf. Figure 360 is a surface 



DESIGN. 



173 



$& 




Fga356 




3 59 




360 



174 ELEMENTARY INDUSTRIAL WORK. 



di=jrb 




NOTES 




NOTES! 


1 



fjq53&/ Flq362 Fiq363 



J 




F.«364- 






F IC j 3bS 





Fici 367 



DESIGN. 175 

pattern. After the design is ready, transfer it to 
manila paper that has been shellacked on both sides to 
prevent it from tearing when paint is applied, and cut 
it out with a sharp knife held in a vertical position. 
Thumb-tack the stencil firmly over the cloth which 
is to be decorated, and, with a blotter under it to ab- 
sorb surplus paint, apply the dye, water-color or paint 
by moving the brush up and down so as to prevent the 
color from slipping under the openings. This up-and- 
down motion is called "stippling." Use glue if the 
color runs, and avoid an overcharged brush. The 
bristles should be stiff. A mucilage brush answers the 
purpose quite well. 

Both stenciling and block-printing are enhanced 
by the addition of embroidery, either with couching, 
as an outline finish, or a darning-stitch over the whole 
piece (Figure 365), and, if harmonizing colors are used, 
fine effects are obtained. 



176 ELEMENTARY INDUSTRIAL WORK. 

XII. 

BIRD-HOUSES. 

The building of a bird-house means that we wish 
to befriend the birds. It is not the purpose of this 
chapter to discuss fully the reason for encouraging 
birds, but to show in a brief way why it is well worth 
while for both boys and girls to protect them. 

In the first place, some birds, as the robin, thrush, 
etc., will not nest in houses, and it is necessary to provide 
shrubbery. This leads to the planting of trees and 
shrubs, which may be utilized in teaching a love of 
nature and beauty. 

Secondly, it teaches conservation. Even tho the 
birds were of no value, it would be worth while from 
the viewpoint of habit. How much more desirable it 
is to have children learn to practice conservation 
in preference to destruction. 

Thirdly, and lastly, the constructiveness is well 
worth while. Another opportunity of teaching the 
fashioning of simple subjects in an artistic manner is 
here afforded. Good proportion and technique are 
too often lacking. Elaborate attempts in the way 
of designs too often lead to failure or a very crude 
product. 

1. A WREN-HOUSE. 

Wren-houses are, perhaps, the most universal 
ones. A simple, yet strong and durable, one is shown 
in Plate 6. The dimensions of this are for 3/& n material. 



BIRD-HOUSES. Ill 

In schools where no shopwork is conducted, dry-goods 
boxes are a good source for material (both nails and 
lumber). 

No previous instruction in woodwork is necessary. 
The pieces are shown in Plate 6, and each piece labeled 
and dimensioned. The most successful method; tho 
not quite as technical, is to cut a pattern for each part 
of the house. This will insure right angles at the 
corners where it is intended to have them. Any kind 
of paper will do. One corner should be started from 
in measuring, as paper bought already cut, either 
bound or unbound, can be relied upon to be square at 
the corners. After cutting the patterns, place them 
on the plank and mark around them. It will be neces- 
sary to mark two of the sides, but only one of each of 
the others. 

After sawing all of the pieces, being careful to cut 
just to the lines, the holes should be bored in the front. 
The larger one is 1" in diameter, and the smaller one 
J". This smaller one is for the insertion of the perch. 
The perch in Plate 6 is a round stick J" in diameter and 
2" long. The circle with the lines across it in the 
drawing represents a cross-section, and the lines are 
called "cross-hatching." 

The center for the larger hole is in the center of 
the board horizontally, and 2" down from the top. The 
smaller one is 1 " below this. Be sure the large opening 
is not more than 1" in diameter; otherwise, the 
English sparrow will drive the wren from his home. 

After the holes are bored, the parts are nailed to- 
gether as shown in Plate 6. Nail the sides first, then 
slip the bottom in, and nail in place. In nailing on 



178 ELEMENTARY INDUSTRIAL WORK. 



3 
O 

r 




>H 










"*o 






i 




BIRD-HOUSES. 179 

the roof have |" projecting over at each side and 2" in 
front. This will leave the necessary projection at the 
back of the house. Lastly, insert the perch in the 
smaller opening, and the house is complete. 

The material may be J n thick if desired. In that 
case the bottom would be 5i"x5J"; the other pieces 
could be left the same. 

Painting these houses is not always desirable, 
and care should be exercised in choosing paint. Avoid 
the bright colors, and use green or gray, or slate if con- 
venient. If the lumber is old or discolored, so that it 
does not look conspicuous, it is quite as well to omit 
the painting. This style of bird-house can be made 
larger and with more openings. Two rows of open- 
ings are sometimes desirable, and then a partition in 
the box, dividing it into two stories. A perch such as 
used in Plate 7 will be more desirable in that case. We 
sometimes see a shelf used for a perch. That is de- 
sirable for pigeons, but not for wrens, martins, blue- 
birds, etc. 

2, A LARGER BIRD-HOUSE. 

This house is not only larger, but also has a gable 
roof. This plate (No. 7) is made up of a sketch — 
front view, A; side view, B; and patterns C, D, E, F, 
G, H and I. Two of C, or the front, are needed. Two 
are also needed of D, the sides; two of G, which is only 
half of the roof, and two of H, which are to support 
the perch. 

The patterns are cut the same as those for the 
wren-house. After laying out and sawing the parts to 



180 ELEMENTARY INDUSTRIAL WORK. 

size, begin assembling by first nailing the sides and 
ends together. The bottom is then slipped in and 
nailed. It will be necessary to take the partition 
next. Place it in the center, just half-way between the 
holes that have been bored, and nail from the front 




and back. Then nail the roof, having it project over 
the same distance in the rear that it does in the front. 

The supports for the perch are nailed on the side, 
i" lower than the holes, and slightly more than 1J", 
projecting out in front. The perch is then nailed on 






BIRD-HOUSES. 



181 



this, leaving a space of 1" between it and the front 
of |the box. 

<• ^ The front view should have been mentioned; 
but, since we are to deal with persons who have studied 
no shop-drawing, it was considered best not to go into 
detail here and thus avoid discouragement. 

What has been said about painting the wren- 
house also applies here. 



3. OTHER BIRD-HOUSES. 

In Plate 8 a third bird-house is shown. This, 
like the one in Plate 7, has larger openings, and is 
really intended for birds larger than the wren, as 
bluebirds, martins, etc. 




Plate S 



The two patterns shown in Figure 8 are alike' 
with the exception of one dimension, and that is the 
width. One is 9", and the other 8J", so that, with f " 
material, the base will be square. The floor is in- 
serted the same as in the previous ones. Then it is 
divided into four parts by placing two partitions 
diagonally. For martins this may be a trifle small, 



182 ELEMENTARY INDUSTRIAL WORK. 

and can be enlarged in the same proportion; but for 
wrens the opening is merely made smaller. 

No definite instructions regarding the plan for 
the roof seem advisable here, so it may be worked out 
to the best of the pupils' ability. 

The cupola is added lastly. It is made with a 
square base, and an angular piece cut out of each 
side, so that it will fit snugly over each part of the roof 
and is bradded in place. 

A very simple and effective bird-house is also 
made of four shingles and two pieces of plank about 
4" or 5" square. Let the pieces of plank be used for 
the top and bottom. Nail a shingle on each of the 
four sides, and, after cutting an opening, we have a 
very attractive home for the birds — at least, it seems 
so to them. 

Still another way is to get hollow parts of trees, 
and nail one end shut, or both ends if you have an 
opening cut in the side. Woodpeckers and blue- 
birds will inhabit such a home. 

Tin cans can also be used to advantage. 

Many avenues are possible, so let us combine and 
do all we can to teach the coming generation the proper 
relation of birds to man. 



FI.ATIS. 



MAY SI 1910 



( 



One c6py del. to Cat. Div. 



si tsio 



LIBRARY OF CONGRESS 



II 

019 821 773 6 



